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BV  1536  .W3  1916 
Wardle,  Addie  Grace, 
Handwork  in  religious 
education 


The  University  of  Chicago  Publications 
IN   Religious   Education 

EDITED   BY 

ERNEST  D.   BURTON  SHAILER  MATHEWS 

THEODORE   G.    SOARES 


PRINCIPLES  AND   METHODS  OF  RELIGIOUS 
EDUCATION 


HANDWORK  IN  RELIGIOUS 
EDUCATION 


THE  UNIVERSITY  OF  CHICAGO  PRESS 
CHICAGO.  ILLINOIS 


Bgcnts 

THE  BAKER  &  TAYLOR  COMPANY 

NEW  YORK 

THE  CUNNINGHAM,  CURTISS  &  WELCH  COMPANY 

LOS  ANOELES 


THE  CAMBRIDGE  UNIVERSITY  PRESS 

LONDON  AND  EDINBUROH 

THE  NARUZEN-KABUSHIKI-KAISHA 

TOKYO,  OSAKA,  KYOTO,  FUKUOKA,  SENDAI 

THE  MISSION  BOOK  COMPANY 

SHANGHAI 

KARLW.  HIERSEMANN 

LEIPZia 


HANDWORK 
RELIGIOUS  EDUCATION 


ADDIE  GRACE  WARDL>    ''"^^'  ■"  '*  -^ 


^y    y 


APR  19  1918 


President  of  the  Cincinnati  Missionary 
Training  School 


THE  UNIVERSITY  OF  CHICAGO   PRESS 
CHICAGO,   ILLINOIS 


Copyright  1916  By 
The  University  of  Chicago 


All  Rights  Reserved 


Published  June  1916 
Second  Impression  December  IQ16 


Composed  and  Printed  By 

The  University  of  Chicago  Press 

Chicago,  Illinois,  U.S.A. 


GENERAL  PREFACE 

The  progress  in  religious  education  in  the  last  few 
years  has  been  highly  encouraging.  The  subject 
has  attained  something  of  a  status  as  a  scientific 
study,  and  significant  investigative  and  experimen- 
tal work  has  been  done.  More  than  that,  trained 
men  and  women  in  increasing  numbers  have  been 
devoting  themselves  to  the  endeavor  to  work  out 
in  churches  and  Sunday  schools  the  practical  prob- 
lems of  organization  and  method. 

It  would  seem  that  the  time  has  come  to  pre- 
sent to  the  large  body  of  workers  in  the  field 
of  religious  education  some  of  the  results  of  the 
studies  and  practice  of  those  who  have  attained 
a  measure  of  educational  success.  With  this  end 
in  view  the  present  series  of  books  on  "Principles 
and  Methods  of  Religious  Education"  has  been 
undertaken. 

It  is  intended  that  these  books,  while  thoroughly 
scientific  in  character,  shall  be  at  the  same  time 
popular  in  presentation,  so  that  they  may  be  avail- 
able to  Sunday-school  and  church  workers  every- 
where. The  endeavor  is  definitely  made  to  take 
into  account  the  small  school  with  meager  equip- 
ment, as  well  as  to  hold  before  the  larger  schools 
the  ideals  of  equipment  and  training. 


viii  General  Preface 

The  series  is  planned  to  meet  as  far  as  possible  all 
the  problems  that  arise  in  the  conduct  of  the  educa- 
tional work  of  the  church.  While  the  Sunday 
school,  therefore,  is  considered  as  the  basal  organi- 
zation for  this  purpose,  the  wider  educational  work 
of  the  pastor  himself  and  that  of  the  various  other 
church  organizations  receive  due  consideration  as 
parts  of  a  unified  system  of  education  in  morals 

and  religion. 

The  Editors 


"If  possible  invent  means  which  shall  use  up  the  motor 
tendencies,  and  at  the  same  time  make  a  contributing  part 
of  the  more  purely  thought  work  required  of  the  child. 
Let  some  doing  accompany  all  the  child's  efforts  to  learn." 
— Dr.  Edward  R.  Shaw. 


PREFACE 

Handwork  in  religious  education  has  the  unfin- 
ished task  of  creating  for  itself  a  legitimate  place 
in  the  thought  of  many  Christian  workers.  Large 
numbers,  on  the  other  hand,  are  its  friends  who 
champion  the  cause  with  a  convincing  apology. 
This  manual  will  present  in  Part  I,  without  argu- 
mentation, some  of  the  reasons  for  the  advocacy 
of  expression  work  for  greater  efficiency  in  all 
efforts  of  religious  education.  The  text  is  ad- 
dressed primarily  to  teachers  and  superintendents. 
It  is  presumed  that  those  who  seek  help  from  its 
pages  have  already  faced  the  problems  of  our 
modern  Sunday-school  endeavor,  realizing  well 
that  we  are  in  an  age  of  exacting  demands  if  we 
would  hold  the  interest  of  developing  life  and  w^ould 
stimulate  it  to  its  highest  response  ethically  and 
spiritually.  In  this  presentation  there  is  no 
thought  of  centering  religion  in  the  physical  hfe 
or  its  expression,  but  there  is  an  effort  to  make 
the  inner  rehgious  hfe  more  vital  in  its  outer 
expression,  more  conscious  in  its  reahty.  A 
second  mission  is  to  stimulate  that  inner  hfe  by 
the  outer  physical  means  to  greater  growth  and 
a  larger  revelation  of  itself. 


xii  Preface 

The  reader  will  readily  observe  that  Part  I  has 
to  do  with  the  more  theoretical  side  of  expression 
work.  It  may  appear  to  those  who  are  instructors 
of  classes  in  teacher-training  in  this  field  that  it 
would  be  better  to  begin  with  Part  II,  the  actual 
doing  of  the  problems  suggested  for  expression 
work,  and  then  return  to  a  theoretical  discussion 
of  all  that  lies  behind  this  department  of  rehgious 
education.  The  advisabiHty  of  such  an  arrange- 
ment will  depend  upon  the  age  and  previous 
preparation  of  those  who  are  pursuing  this  course. 
If  the  teachers  in  training  are  familiar  with  hand- 
work in  the  public  school,  Part  I  will  be  of  imme- 
diate and  primary  interest  and  consideration  for 
them. 

At  the  close  of  each  of  the  first  seven  chapters 
assignments  are  made  both  in  more  extensive 
reading  on  the  subject-matter  of  the  chapter  and 
in  certain  specific  pieces  of  expression  work  to  be 
wrought  out  by  the  members  of  the  class.  Thus 
even  if  a  beginning  is  made  with  Part  I  the  class 
will  be  engaged  in  practical  work  from  the  outset. 
At  the  close  of  study  of  the  seven  chapters  thus 
arranged,  the  sessions  still  remaining  should  be 
devoted  to  the  other  types  of  handwork  not  yet 
covered,  as  explained  in  chap.  viii.  The  possi- 
bilities in  this  field  are  without  limit.  The  class 
itself  should  decide  how  many  of  the  suggested 
kinds  of  expression  work  shall  be  taken  up  for 


Preface  xiii 

actual  practice  in  the  teacher-training  course  on 
handwork.  The  supplementary  readings  are  of 
necessity  apphcable  to  the  discussion  only  in  part, 
as  the  field  covered  in  these  discussions  is  very 
large  and  the  specific  topic  of  this  manual  is  as  yet 
somewhat  new.  If  the  books  are  not  available, 
the  supplementary  reading  is  not  essential  to  the 
use  of  the  manual. 

Certain  preliminary  questions  will  be  raised  in 
the  minds  of  all  who  thoughtfully  face  the  matter 
of  the  generous  employment  of  handwork  in  our 
present  rehgious  education.  The  first  question  is 
that  of  time  in  the  Sunday-school  hour.  Two  or 
three  answers  may  suggest  possible  solutions. 
One  method  is  to  plan  a  small  amount  of  work  for 
the  few  minutes  that  can  be  allotted  to  it  during 
the  Sunday-school  hour,  taking  care  that  that 
small  piece  of  work  shall  have  vital  interest  for  the 
pupils  and  at  the  same  time  be  a  part  of  a  unit  to 
be  worked  out  in  a  series  of  Sunday-school  periods. 
A  larger  solution  of  the  question  is  that  of  a  special 
session  for  expression  work,  perhaps  as  an  after- 
noon exercise,  if  the  regular  Sunday-school  session 
is  a  morning  one.  Some  classes  have  found  it 
possible  to  lengthen  their  period  each  week  in 
order  to  give  a- half-hour  to  this  important  con- 
tribution to  the  life  of  the  child.  A  third  solution 
may  be  found  in  the  fact  that  much  of  the  hand- 
work recommended  herein  belongs  fundamentally 


xiv  Preface 

to  a  week-day  task.  The  teacher  may  profitably 
keep  in  touch  with  the  members  of  her  class  during 
the  week  by  calling  them  together  for  a  social  hour 
of  personal  contact  while  the  handwork  for  the 
Sunday  lesson  is  wrought  out.  In  those  advanced 
Sunday  schools  which  are  providing  class  work 
for  children  during  the  church  service  the  hand- 
work is  an  admirable  form  of  educational  activity. 

A  second  problem  that  will  suggest  itself  is  that 
of  the  expense.  To  this  there  are  also  several 
possible  answers.  The  pupils  may  be  able  to  bear 
the  cost  of  their  own  handwork  material;  a  special 
fund  may  be  created  by  the  Sunday-school  board 
for  this  purpose;  a  third  and  better  suggestion  is 
that  of  the  use  of  inexpensive  materials  within  the 
reach  of  most  church  communities.  Discarded 
magazines,  covers  of  catalogues,  broken  panes  of 
glass,  blank  pieces  of  paper,  the  back  of  unused 
wall  paper,  cardboard  from  pasteboard  boxes,  etc., 
can  be  collected,  especially  from  those  families  in 
which  there  are  business  men  to  whom  so  much 
advertising  matter  constantly  comes. 

The  third  problem  is  that  of  trained  teachers. 
Very  often  the  teacher  of  handwork  in  the  pubHc 
school  may  be  available  for  similar  service  in  the 
Sunday  school.  But  it  is  quite  possible  for  earnest 
persons  with  high-school  training  to  fit  themselves 
for  handwork  instruction.  It  is  the  purpose  of 
this  manual  to  lay  out  a  course,  theoretical  and 


Preface  xv 

practical,  to  accomplish  this  end.  The  course 
may  be  followed  either  in  an  individual  church  or 
in  a  community  training  school.  Let  training 
classes  be  formed  consisting  of  those  already  teach- 
ing Sunday-school  and  mission  classes  and  of  others 
who  would  be  glad  to  study  to  fit  themselves  for 
the  supervision  of  handwork  alone. 

The  instructor  of  the  teacher-training  class  need 
not  be  one  who  has  mastered  all  the  kinds  of 
expression  work  available  for  use  in  religious  edu- 
cation. She  can  profitably  enhst  the  services  of  a 
half-dozen  others  who  have  had  preparation  in  this 
w^ork  or  each  of  whom  will  select  some  one  or  two 
activities  and  with  the  aid  of  textbooks  become 
proficient  in  them.  Helpful  texts  for  this  are 
suggested  in  the  bibHography. 

This  manual  may  well  be  used  in  preparation 
for  activities  in  boys'  and  girls'  club  work.  The 
handwork  problems  to  be  worked  out  may  be  of 
greater  variety  than  those  to  be  used  for  the 
Sabbath  time  only.  The  vacation  Bible  schools 
can  advantageously  use  the  plans  of  this  manual 
for  much  of  their  expression  work. 

Special  acknowledgment  should  be  made  to  the 
students  and  workers  of  the  Cincinnati  Missionary 
Training  School  who  have  assisted  so  largely  in  the 
practical  part  of  this  manual. 


CONTENTS 

PART  I.  THE  TEACHER  AND  THE  SUBJECT 

:hapter  page 

I.  The  Presentation  of  the  Subject     ...        3 

§1.  TheProperPlaceof  Expression  Work;  §2.  The 
Necessity  of  Self-Expression;  §  3.  The  Impulse  of 
Creativeness 

Assignment  of  Handwork:  The  Making  of  Enve- 
lopes and  Portfolios 

II.  The  Relationships  of  the  Subject     ...       10 

§  I.  Religion   and   Outer    Conduct;     §  2.  Religion 
and  the  Fine  Arts;     §  3.  Religion  and  Industrial 
Arts;    §  4.  ReHgion  and  Vocational  Interests 
Assignment  of  Handwork :  Bookbinding 

III.  The  Vision  of  the  Teacher  in  Relation  to 
Handwork 19 

§  I.  The  Ideal  of  the  Religious  Educator;  §  2.  Reli- 
gious and  Secular  Education 

Assignment  of  Handwork:  Paper-Cutting  and 
-Mounting 

IV.  Laws  of  Education  as  Applied  to  Expres- 
sion Work 24 

§  I.  Relation  of  Theory  and  Practice;    §  2.  Sensa- 
tional and  Creative  Activity;  §  3.  Vital  Interests. 
Assignment    of    Handwork:      Paper-Tearing    and 
-Mounting 


xviii  Contents 

V.  The  Preparation  of  the   Religious  Edu- 
cator IN  Expression  Work 30 

§  I.  Acquaintance  with  the  Fine  Arts;     §  2.  The 
Use    of    Art;     §  3.  The    Representation    of    Jfrt; 
§  4.  Construction  Work 
Assignment  of  Handwork:    Construction  Work 

PART  II.    THE  PUPIL  AND  PHYSICAL  EXPRESSION 

VI.  Expression  W^ork  Applied  to  the  Develop- 
ing Stages  of  Life 39 

Interest,  ability  to  be  cultivated  and  work  to  be 
given  for: 

§1.  Kindergarten;    §2.  Grades  I,  II;    §3.  Grades 
III-V;    §4.  Grades  VI- VIII;    §5.  Adolescence. 
Assignment  of  Handwork:   Papier-Mache  Maps 

VII.  Suggestions  for  Expression  Work  in  the 

Sunday  School 46 

§  I.  For  Kindergarten  Children;    §  2,  For  Primary- 
Children;      §3.  For    Later    Childhood;      §4.  For 
Adolescence 
Assignment  of  Handwork:   Sand  Maps 

VIII.  Detailed  Suggestions  for  Expression  Work  51 
§1.  Card-Sewing;  §2.  Paper-Cutting;  §3.  Sten- 
ciling; §  4.  Picture-Tearing;  §  5.  Picture-Coloring; 
§  6.  Paper-Folding;  §  7.  Stick  Printing  and  Block 
Stencihng;  §  8.  Coping  Saw  Work  and  Whittling; 
§  9.  Basketry;  §  10.  Trays  and  Fancy  Boxes; 
§  II.  Clay-]Modeling;  §  12.  Construction  Work; 
§  13.  Map-Modeling;  §  14.  Art  Work;  §  15.  Writ- 
ten Work 

IX.  Permanent  Form  for  the  Hantdwork     .     .     118 
§1.  Envelopes  and  Portfolios;    §2.   Bookbindings 

Books  for  Reference 136 


PART  I.  THE  TEACHER  AND  THE 
SUBJECT 


CHAPTER  I 

THE  PRESENTATION  OF  THE  SUBJECT 
§1.      THE  PROPER  PLACE  OF  EXPRESSION  WORK 

Have  I  been  sure,  this  Christmas  Eve, 
God's  own  hand  did  the  rainbow  weave. 
Whereby  the  truth  from  heaven  slid 
Into  my  soul  ? 

The  Psalmist  emphatically  states  that  "the 
heavens  declare  the  glory  of  God  and  the  firmament 
showeth  his  handiwork."  In  this  he  asserts  that 
the  physical,  material  universe  may  have  for  man 
a  spiritual  meaning  if  he  interprets  it  aright. 
There  is  always  the  possibiKty  of  that  which  is 
discerned  by  the  senses  having  no  spiritual  sug- 
gestion. One  may  find,  on  the  other  hand,  in  a 
physical  sense-experience  an  inner  spiritual  mes- 
sage.    Browning  says 

In  a  thunderclap 
Where  I  heard  noise  and  you  saw  flame, 
Some  one  man  knew  God  called  his  name. 

In  the  fear  lest  the  interpretation  may  be  gross, 
should  God  refrain  from  creating  things?  His 
sunsets,  flowers,  mountains,  seas,  and  towering 
forests  are  created  things  that  may  give  an  inner 
meaning  to  Hfe. 

3 


4        Handwork  in  Religious  Education 

The  problem  of  the  educator  is:  If  truth,  espe- 
cially spiritual  truth,  or  rehgious  facts  are  repre- 
sented by  material  things,  will  the  truth  be  the 
more  discernible  or  the  more  hidden  ?  One  recalls 
that  in  the  history  of  the  Christian  church  the 
image,  the  beautiful  picture,  the  crucifix  have 
sometimes  rather  kept  the  worshiper  from  obtain- 
ing a  clear  sense  of  the  divine  than  aided  him  in  his 
spiritual  Hfe.  Yet  one  remembers  also  that  all 
reHgions  have  used  the  material  representation  of 
the  divine — the  tree,  the  sacred  stone,  the  carved 
image,  the  ark,  the  cross. 

§  2.      THE   NECESSITY   OF    SELF-EXPRESSION 

Perhaps  some  basal  facts  of  life  may  guide  in  the 
understanding  of  this  problem.  Every  individual 
faces  the  necessity  of  self-expression  for  the  sake 
of  the  development  of  his  own  life.  The  primitive 
peoples  were  led  to  the  invention  of  a  language  by 
their  impulse  to  express  their  thoughts  to  one 
another.  First  they  used  gestures  with  accom- 
paniments of  sound,  then  words  as  symbols  when 
the  object  to  which  they  desired  to  call  attention 
was  not  present  to  view.  Among  more  advanced 
peoples  this  led  to  the  conscious  cultivation  of 
a  language  for  the  sake  of  full  self-expression. 
Along  with  the  development  of  sign  language  was 
the  drawing  of  crude  pictures  upon  stones  and 
bowlders  that  men  might  communicate  with  one 


Presentation  of  the  Subject  5 

another  by  the  reproduction  of  the  object  of 
thought.  Afterward  this  reproduction  gave  place 
to  the  representation  of  a  truth  by  some  symbol. 
These  means  of  self-expression  became  not  only 
evidences  of  development,  but  in  turn  the  largest 
factors  of  progress,  until  it  has  been  common  for 
us  to  judge  a  nation's  spiritual  attainment,  as  well 
as  its  civiHzation,  by  its  language  and  its  art. 

It  is  apparent,  then,  that  every  individual,  as 
well  as  every  people,  must  use  symbols  for  self- 
expression  or  self -interpretation.  Equally  true  is 
it  that  rehgion,  the  most  vital  and  spiritual  part 
of  the  individual  or  of  the  nation,  must  avail  itself 
also  of  symbolism  for  the  sake  of  self-expression 
and  interpretation.  One  of  the  most  difficult 
things  about  religion  is  to  make  spiritual  con- 
ception concrete  enough  for  the  comprehension  of 
the  average  man.  Perhaps  the  incarnation  of 
Christ  was  in  part  God's  effort  to  make  the  divine 
spirit  concrete  to  human  comprehension. 

§  3.      THE   IMPULSE    OF    CREATIVENESS 

A  second  fundamental  fact  will  help  in  defining 
the  place  that  symbohsm  or  physical  representa- 
tion must  have  in  rehgious  education.  This  fact 
is  the  impulse  of  Kfe  to  create  something  expressive 
of  itself.  Even  a  child  desires  to  ''make  some- 
thing." In  this  instinct  man  seems  to  be  most 
akin  to  the  divine  Creator  of  whom  it  is  said,  ''In 


6        Handwork  in  Religious  Education 

the  beginning  God  created."  This  impulse  to 
creativeness  does  not  belong  to  adult  Hfe  alone,  for 
from  earHest  childhood  there  seems  to  be  the  con- 
stant desire  to  use  materials  for  the  making  of  some- 
thing that  just  suits  the  thought  of  the  individual. 
In  its  highest  forms  this  instinct  expresses  itself 
in  music,  art,  and  story. 

Is  it  not  evident,  then,  that  the  proper  use  of  a 
physical  representation  or  symboHsm  of  even  the 
deepest  conceptions  of  the  soul  does  not  hide  the 
spiritual,  but  aids  in  reveahng  it  ? 

REFERENCES   FOR   STUDY 

Kirkpatrick,  Edwin  A.  Fundamentals  of  Child  Study, 
chap,  xiii,  "The  Expressive  Instinct";  chap,  xiv, 
"Development  of  Intellect." 

Haddon,  A.  C.  Evolution  in  Art,  "The  Material  of  Which 
Patterns  Are  Made,"  pp.  74-199;  "The  Reasons  for 
Which  Objects  Are  Decorated,  "  pp.  200-305. 

ASSIGNMENT    OF   HANDWORK:    THE   MAKING    OF 
ENVELOPES   AND   PORTFOLIOS 

It  is  well  to  prepare  in  the  first  lesson  the  means 
for  protecting  the  handwork  to  be  done.  Let  this 
session  be  given  to  the  making  of: 

I.  Envelopes. — ^A  suitable  size  for  the  fiUng  of 
work  to  be  mounted  on  cardboard  is  qJ  X 1 2 J  inches. 
Use  as  patterns  the  models  given  in  Fig.  40,  Nos. 
1-5.  Let  the  space  within  the  dotted  lines  meas- 
ure 9JX12I  inches.     Fold  on   the  dotted  Hnes. 


Presentation  of  the  Subject  7 

It  is  well  to  practice  first  with  newspaper.  For 
permanent  envelopes  use  the  manila  paper  or  the 
heavy  wrapping-paper  which  can  be  purchased  by 
the  yard  at  almost  any  store  using  it.  Strong 
wall  paper  is  also  suitable.  Light-weight  cover- 
paper,  which  can  be  purchased  at  any  paper  store, 
is  very  satisfactory.  Have  the  pupils  of  the  class 
get  other  patterns  of  envelopes  suitable  for  this 
purpose. 

2.  Portfolios. — For  the  simple  forms  of  port- 
folios note  Fig.  41,  Nos.  i,  2,  and  6.  These  are 
simple  constructions  of  folded  paper,  decorated 
in  harmonious  colors.  Ribbon  is  inserted  if  desired 
for  tying.  For  the  more  elaborate  form  of  port- 
foUos  note  the  portfoHo  P,  Fig.  42,  and  the  legal 
envelope  L.E.  just  below.  Construct  the  form  P 
as  follows:  Cut  two  pieces  of  strawboard  or  card- 
board 9X12  inches,  as  indicated  in  P,  Fig.  42,  and 
six  pieces  for  flaps.  Note  carefully  in  the  picture 
the  length  of  each  flap.  The  width  is  not  so 
material.  Put  the  pieces  together  with  cheese- 
cloth or  super,  allowing  one-half  inch  between  all 
pieces  except  those  at  the  back,  where  one  inch  is 
allowed.  Cut  incisions  for  the  braid.  Insert 
this  as  indicated  in  the  picture  and  paste  the  end 
on  the  inside.  Make  the  outside  of  the  portfolio 
of  coarse  linen  or  binder's  cloth,  leaving  a  one-inch 
margin  all  around.  Fold  this  over  and  paste  down 
on  the  cardboard.     For  the  inside  lining  use  a 


8        Handwork  in  Religious  Education 

piece  of  paper  or  any  other  material  desired  in  a 
color  harmonious  with  that  of  the  outside  material. 
Place  the  portfoHo  thus  far  completed  upon  the 
lining  and  trace  around  it  for  pattern.  Cut  one- 
eighth  of  an  inch  within  the  markings.  Paste 
the  Hning  in  place,  creasing  carefully  between  the 
pieces  of  strawboard. 

The  legal  envelope  form  presents  the  problem 
of  the  folded  corners.  The  folded  paper  inserted 
to  give  width  to  the  portfoHo  is  constructed  of  one 
long  strip  of  paper,  glued  securely  between  the  large 
sheets,  forming  the  sides  of  the  envelope.  The 
process  for  the  legal  envelope  is  as  follows:  Cut 
a  piece  of  heavy  paper  12X17  inches  and  three 
pieces  9X12  inches.  Cut  a  strip  of  the  same 
paper  2IX30  inches.  Fold  this  piece  in  half 
lengthwise,  then  divide  each  half  into  three  equal 
parts,  making  three  double  folds  30  inches  long. 
Crease  at  a  distance  of  9  inches  from  both  ends  to 
fit  the  corners  as  shown  in  the  figure.  Crease  the 
folds  carefully.  Round  out  two  of  the  9X  12-inch 
pieces  to  produce  the  pocket  effect,  paste  one  on 
either  side  of  the  top  fold  of  the  creased  paper  that 
is  to  be  inserted  to  give  extension  to  the  pocket. 
Paste  the  other  side  of  the  creased  paper  between 
the  third  9X12  piece  and  the  12X17  piece.  This 
will  give  double  thickness  of  the  paper  on  both 
sides  of  the  envelope.  If  the  envelope  is  to  be 
tied  with  tape,  insert  the  tape  between  the  last 


Presentation  of  the  Subject  9 

two  sheets  pasted  together  previous  to  pasting 
them,  cutting  incisions  in  the  12X17  sheet  one- 
fourth  inch  from  either  side  of  the  pocket  part,  for 
the  drawing  out  of  the  ends  of  the  tape  on  to  the 
right  side  of  the  envelope.  Crease  the  flap  of  the 
envelope  over  and  tie  in  place.  The  more  difficult 
portfolios,  as  illustrated  in  Fig.  41,  Nos.  4,  5,  and 
9,  are  made  as  described  in  chap,  ix,  pp.  122-25. 
Let  the  more  advanced  pupils  in  handwork  prepare 
the  more  difficult  forms  of  portfolios. 


CHAPTER  II 
THE  RELATIONSHIPS  OF  THE  SUBJECT 

§  I.      RELIGION   AND    OUTER   CONDUCT 

Religion  has  always  included  within  itself  both 
the  inner  spiritual  life  and  the  outer  expression  of 
it.  Well  known  is  the  injunction  of  the  Epistle, 
*' Faith  without  works  is  dead."  In  this  day  the 
goal  of  religion  is  being  interpreted  more  and 
more  in  terms  of  the  expression  of  the  inner 
experience  in  a  full  outward  life  of  ethical  con- 
duct and  service.  The  more  vital  the  inner  ex- 
perience, the  more  will  it  regulate  the  individual's 
actions  and  attitudes  of  faith  in  God's  plans  for 
himself  and  for  the  world,  the  more  it  will  make 
right  one's  human  relationships  in  his  conduct 
toward  others,  his  willing  service  in  their  behalf, 
and  his  spirit  of  fellowship.  Thus  what  is  know^n 
as  civiHzation,  which  is  the  outer  expression  of 
the  advancing  life  of  the  race,  has  direct  relation- 
ship to  the  spiritual  ideals  and  experiences  of  men. 

§  2.      RELIGION  AND   THE   FINE   ARTS 

Rehgion  and  the  fine  arts  have  had  a  marked 
relationship  to  one  another.  Out  of  the  strains 
and  crises  and  joys  and  triumphs  of  life  art  arose 


Relationships  of  the  Subject  ii 

to  record  the  experiences,  and  religion  to  interpret 
them.  The  religious  dance  and  festival  called 
again  for  the  display  of  those  decorations  and 
adornments  that  marked  the  past  experiences  of 
the  people  and  the  triumph  of  the  victor.  Among 
primitive  men  the  religious  symbol  or  totem  became 
an  artistic  design  of  the  group,  to  be  hung  in 
amulet  form  about  their  necks,  to  be  painted  on 
their  bodies,  to  be  woven  into  their  baskets,  and 
to  be  carved  on  the  stones  of  their  dwelHngs. 
Thus  art  and  religion  were  inseparably  united 
with  the  emotional  Hfe  of  a  people  and  were  used 
to  express  that  emotional  life.  In  the  times  when 
life  became  monotonous  because  the  chase  and 
war  and  calamity  were  past  experiences,  the  reli- 
gious ceremony  reinstated  those  emotional  delights 
as  they  were  recalled  and  re-enacted,  and  art 
reproductions  brought  back  the  sense  of  excite- 
ment. Thus  together  religion  and  art  saved  life 
from  some  of  its  drudgery.  As  life  became  more 
civilized  the  emotions  of  struggle,  of  conquest,  and 
of  triumph  gave  place  to  those  of  peace,  quietness, 
trust,  resignation,  and  devotion  as  the  ideals  of 
rehgion.  With  that  change  in  religion's  point  of 
view  came  a  corresponding  change  in  art  repro- 
ductions, which  always  seek  to  portray  life  in  its 
deepest  meanings. 

In  their  emotional  appeals,  too,  both  religion 
and  the  fine  arts  appropriate  as  their  own  the  realm 


12      Handwork  in  Religious  Education 

that  is  beyond  sense-perception,  that  of  the  mys- 
terious and  not  yet  apprehended.  These  two 
elements  of  Kfe  are  thus  similar  in  their  basal 
characters.  Art  does  not  record  the  details  of 
nature  as  do  the  lenses  of  a  camera,  but,  taking 
nature  for  its  subject,  interprets  it  in  the  Hght  of 
an  inner  ideal  which  has  for  itself  unity  of  form, 
color,  and  illumination.  In  like  manner,  rehgion 
looks  not  at  the  actual,  as  the  senses  discern  the 
actual,  but  ever  interprets  the  universe  of  things 
and  experiences  in  terms  of  moral  values  and  reli- 
gious ideals.  The  artist  and  the  religionist  in  this 
process  become  ideahsts,  seeing  unity  and  harmony 
within  the  apparently  dissimilar  and  inharmonious. 
In  the  history  of  art  and  religion  each  has  been  the 
handmaiden  of  the  other.  Art  has  in  large  meas- 
ure sought  from  rehgion  its  subjects,  while  rehgion 
has  used  art  to  estabhsh  its  control  and  to  find 
expression  for  its  inner  experiences.  The  master- 
pieces of  the  world  of  art  are  the  portrayal  of 
rehgious  scenes,  the  expression  of  qualities  of  char- 
acter recognized  as  specifically  rehgious,  the  con- 
struction of  cathedrals  expressing  art  ideals  of  the 
age,  and  the  decoration  of  sacred  places  and  of  the 
sacred  vestments  of  officiating  priests.  So  may  it 
be  said  of  the  fine  arts,  that  more  nearly  than  any 
other  element  of  human  life  or  experience  they 
approximate  the  deepest  conceptions  and  ideals  of 
rehgion. 


Relationships  of  the  Subject  13 

§  3.    religion  and  industrial  arts 

Let  us  note  the  relation  of  religion  to  industrial 
arts.  This  is  the  day  of  emphasis  upon  manual 
training.  Is  there  any  relationship  between  this 
manual  work  and  the  innermost  soul  of  man? 
ReHgion  urges  as  its  goal  the  individual's  mastery 
of  the  world  in  which  he  Hves  and  his  overcoming 
of  opposing  physical  forces  by  the  spiritual  ideal 
within,  emphasizing  continually  the  necessity  of 
his  conforming  to  the  laws  of  the  physical  world 
for  the  attaining  of  his  spiritual  ideal.  Industrial 
art  has  always  as  its  goal  the  mastery  of  material 
by  the  idea  the  worker  has  in  mind,  with  the  neces- 
sity of  his  conforming  to  the  laws  of  that  material, 
whether  the  material  be  paper,  wood,  clay,  or  the 
choicest  paints  of  the  artist. 

Again,  rehgion  insists  upon  the  interpretation  of 
Hfe,  even  its  greatest  hardships,  in  terms  of  an 
inner,  jubilant  gladness,  rather  than  in  terms  of 
drudgery.  Industrial  arts  hkewise  would  inter- 
pret the  monotonous  in  the  industrial  hfe  of  our 
day  in  terms  of  an  inner  creative  gladness,  seeking 
expression  through  materials.  In  the  high  speciali- 
zation of  our  present  factory  system  where  an 
individual  does  but  one  small  part  in  the  creat- 
ing of  a  product,  the  manual  training  which 
he  has  received  will  make  it  possible  for  him 
to    interpret    his    task    according    to    his    inner 


14      Handwork  in  Religious  Education 

consciousness  of  aiding  in  a  creation  which  gives 
its  own  meaning  to  all  the  tedious  series  of 
movements. 

Once  more,  religion  centers  in  the  ideal  of  the 
individual's  contributing  something  to  the  common 
good,  that  something  to  be  expressive  of  what  is 
most  essential  and  deepest  in  life.  Industrial  art 
to  a  degree  shares  the  same  ideal,  insisting  that  the 
individual  shall  contribute  something  to  the 
common  effort  and  be  able  to  present  some  pro- 
duction, even  though  it  be  small,  that  will  express 
himself.  The  pupils  may  all  work  according  to 
a  given  general  pattern,  but  the  details,  especially 
the  decorations,  may  be  the  individual's  own. 
Industrial  art  is  emphasizing  to  all  the  necessity  of 
a  task  as  central  to  life,  the  ability  to  do  some 
given  thing,  the  acceptance  of  a  definite  work. 
This,  too,  is  rehgion's  point  of  view.  Each  indi- 
vidual must  have  a  work  to  do  and  the  sense  of 
the  divine  assignment  of  life  to  that  task  as  his 
mission  in  and  to  the  world. 

Perhaps  the  largest  contribution  of  industrial 
arts  to  the  religious  consciousness  is  in  emphasizing 
a  new  fellowship  with  the  Creator,  a  sense  of  self- 
hood as  representing  in  a  very  vital  way  the  divine 
image.  In  the  consciousness  of  fellowship  with  the 
Creator  joy  comes,  not  from  receiving  something 
to  be  enjoyed,  but  from  seeking  continually  to 
give  expression  to  the  inner  self. 


Relationships  of  the  Subject  15 

One  other  relationship  may  be  noted.  The 
task  of  rehgion  is  to  make  the  truth,  ever  present 
in  human  Ufe,  remembered  for  the  time  of  an 
emergency.  In  the  reahn  of  industrial  arts  an 
idea  represented,  though  it  be  only  in  terms  of 
a  child's  rudely  constructed  piece  of  handwork, 
gives  to  him  a  tangible  reminder  of  the  truth  thus 
represented.  As  in  all  representation,  care  must 
be  taken  that  the  symbol  shall  not  supplant  the 
truth,  centering  interest  in  itself  rather  than  in 
that  which  it  represents. 

§  4.     religion  and  vocational  interests 

Rehgion  that  is  vital  to  all  of  hfe  and  has  con- 
nections everywhere  has  a  real  relationship  to  the 
industrial  and  vocational  interests  of  the  race.  It 
has  ever  tended  to  exalt  the  common,  the  indus- 
trial Hfe  of  man.  Christianity,  always  boasting 
of  a  certain  carpenter's  shop  in  Nazareth  where  the 
Son  of  God  toiled,  is  one  with  the  struggHng  hfe 
of  man.  It  is  today  seeking  to  enter  into  co- 
operative fellowship  with  the  working-man.  The 
drudgery  of  the  present  circumscribed  physical 
labor  to  which  men  must  devote  a  hfetime  needs 
pre-eminently  the  idealism  of  the  religion  of  the 
Nazarene.  His  words  have  potent  meaning  in  the 
hfe  of  the  industrial  toiler:  ''Be  of  good  cheer. 
I  have  overcome  the  world."  Any  effort  that 
will  seek  to  connect  religion  from  earliest  childhood 


1 6      Handwork  in  Religious  Education 

with  the  thought  of  ph3?sical  work  will  interpret 
Christianity  aright. 

Thus  reUgion  is  fundamentally  one  with  the 
inner  goal  of  all  physical  expression,  whether  in 
the  form  of  a  material  production  or  in  that  of  an 
artistic  creation. 

REFERENCES   FOR   STUDY 

Ross,  Edward  Alsworth.    Social  Control,  chap.,  xx,  "Art," 
Eddy,  Arthur  Jerome.     Delight  the  Soul  of  Art,  chap,  iv, 

"Delight   in    the   Symbol'';     chap,   v,    "Delight    in 

Labor." 

assignment  of  handwork:    bookbinding 

As  a  matter  of  historical  interest  collect  books 
of  as  many  rare  bindings  as  possible  from  the  com- 
munity. It  might  be  well  to  have  some  one 
person  give  in  a  ten-minute  discussion  the  history 
of  bookbinding.  Have  the  different  members  of 
the  class  prepare  for  handwork  the  various  prob- 
lems in  bookbinding.  Note  Fig.  41,  where  there 
are  three  samples  of  books  for  the  mounting  of 
pictures,  paper-cutting,  or  paper-foldings,  samples 
Nos.  8,  10,  and  15.  No.  8  is  clothboard,  cotton- 
batting  padding  being  used  between  the  cloth  and 
the  clothboard.  Cover-paper  Knes  the  reverse 
side.  Glue  the  cloth  on  the  reverse  side  of  the 
cover  the  inch  and  a  half  in  which  the  cloth  pro- 
jects. Loose  leaves,  in  which  three  holes  for  the 
tying  have  been  made,  are  inserted  between  the 


Relationships  of  the  Subject  17 

covers,  and  the  book  is  tied  together  through  the 
eyelets,  the  binder's  stitch  being  used,  as  described 
under  ''Book-Sewing,"  p.  126.  The  string  for 
tying  is  made  by  twisting  together  strands  of  heavy 
silk  in  colors  to  match  the  cloth  of  the  book  cover. 
No.  10  is  the  problem  of  loose  leaves  through  which 
the  holes  for  sewing  have  been  made  with  an  awl. 
Rafha  in  suitable  color  is  used  in  place  of  thread. 
No.  15  is  of  bristol  board  with  gray  cover-paper 
leaves.  For  description  see  p.  135.  Let  some 
prepare  for  loose-leaf  binding,  as  suggested  in 
chap,  ix,  pp.  126-28,  while  others  prepare  for 
double-leaf  binding,  as  described  in  the  same 
chapter,  pp.  128-34,  and  illustrated  in  Fig.  42, 
samples  A,  B,  C,  and  D  for  tape  sewing,  and  samples 
E  and  F  for  the  imitation  of  machine  sewing  and 
the  use  of  the  super  in  binding.  Have  some  mem- 
bers of  the  class  prepare  to  illustrate  the  steps  in 
the  process  of  the  more  elaborate  cover,  as  repre- 
sented in  Fig.  42,  I-IV.  If  possible,  have  a  book 
bound  with  Hnen  covering  the  clothboard  or  straw- 
board.  It  might  be  well  to  divide  the  class  so  as 
to  have  one  part  demonstrate  the  sewing  and  the 
other  the  cover-making.  Let  someone  especially 
gifted  present  a  graded  course  in  bookbinding 
suited  to  the  various  ages  of  the  children.  It 
should  include  (i)  simple  covers  tied  with  fancy 
cord  or  ribbon;  (2)  the  use  of  wire  staples  holding 
the  loose  leaf  or  the  double  leaf  into  simple  cover- 


1 8      Handwork  in  Religious  Education 

paper  covers  with  a  strip  of  cover-paper  or  binder's 
cloth  glued  up  the  back  to  hide  the  wire  staples; 
(3)  simple  sewing  with  binder's  thread,  using  the 
binder's  stitch  in  place  of  the  wire  staples;  (4) 
loose-leaf  binding  with  stiff  covers,  using  the  simple 
one-piece  cover  of  Fig.  42;  (5)  the  more  elaborate 
cover  as  shown  in  Fig.  42;  (6)  the  sewing  in  imi- 
tation of  machine  work  of  Fig.  42,  with  the  use 
of  the  super;  (7)  tape  sewing,  as  illustrated  in 
Fig.  42;  (8)  leather  cover  used  as  binder's  cloth  is 
used,  with  strawboard  covers  (special  care  must  be 
taken  to  shave  off  the  inside  of  the  leather  at  the 
corners  and  edges  if  a  heavy  leather  is  used); 
(9)  soft  leather  binding,  preferably  with  double- 
leaf  sewing  and  the  super,  for  the  inside  of  the 
book.  Perhaps  even  more  elaborate  bindings  can 
be  presented. 


CHAPTER  III 

THE  VISION  OF  THE  TEACHER  IN  RELATION  TO 
HANDWORK 

§  I.      THE  IDEAL  OF  THE  RELIGIOUS  EDUCATOR 

We  are  in  the  day  of  the  preparation  of  the  reli- 
gious educator.  The  salvation  of  the  soul  of  the 
piipil  is  no  longer  regarded  as  the  completed  task 
of  the  teacher;  the  demands  of  the  whole  per- 
sonaUty  must  be  met.  One  of  the  most  prominent 
outstanding  results  of  this  radically  changed  point 
of  view  is  that  every  teacher  of  youth  must  go  to 
school  himself  to  the  twentieth-century  ideals  and 
then  must  submit  to  the  drudgery  of  the  mastery 
of  details  wherever  demanded. 

A  marked  advance  has  been  apparent  in  several 
different  fields  with  a  corresponding  effect  upon 
education.  New  ideals  have  gradually  spread 
from  the  more  scientific  psychology  to  the  science 
of  child  study,  from  the  science  of  sociology  to 
scientific  social  service,  from  a  critical  and  his- 
torical study  and  presentation  of  the  Bible  to  the 
ethics  of  Christian  living.  Last  in  the  advance 
is  the  demand  for  what  is  being  styled  the  concrete 
expression  of  the  individual,  or  handwork.  As 
yet  the  average  Sunday-school  teacher  knows 
little  of  this  latest  demand  in  her  own  preparation, 

19 


20      Handwork  in  Religious  Education 

and,  if  she  undertakes  handwork,  she  draws  largely 
upon  the  pupils'  power  to  adapt  their  pubhc- 
school  instruction  to  the  Sunday  educational  work. 
The  appeal  of  the  ideal  of  self-expression,  of 
creatorship,  of  forcing  upon  materials  the  expression 
of  the  highest  conceptions  of  life,  has  had  little 
consideration  from  the  teacher  of  rehgion,  although 
it  is  as  old  as  Pestalozzi  and  Froebel  in  secular 
education. 

§  2.      RELIGIOUS   and    SECULAR   EDUCATION 

The  modern  rehgious  curriculum  has  certain 
analogies  with  that  of  secular  education.  The 
central  topic  of  each  is  the  study  of  the  child  and 
the  adaptation  of  truth  to  his  need  and  growth. 
This  has  been  customarily  a  study  of  the  normal 
child  carefully  dissected,  with  the  proper  treatment 
prescribed  for  each  state  or  condition.  Thus  he 
has  been  viewed  objectively  and  almost  statically, 
at  least  within  certain  clearly  defined  periods,  as 
childhood,  adolescence,  etc.  His  action  in  a 
certain  field  at  any  one  moment  or  period  was 
noted,  described,  classified,  and  his  need  dog- 
matically stated.  In  contrast  is  the  present  study 
of  the  child  as  an  organism  reacting  as  a  unit,  with 
every  power  of  personality  active  in  every  reaction 
to  his  environment  and  outer  stimulations.  And 
more,  the  child  is  studied  from  the  standpoint  that 
his  behavior  in  any  act  has  a  meaning  in  his  entire 


The  Teacher  and  Handwork  21 

mental  life.  The  sum-total  of  his  mental  pro- 
cesses that  preceded  the  act  and  that  come  out  of 
the  act  must  be  known  before  its  meaning  can  be 
determined  or  its  qualities  set  forth,  and  surely 
before  the  proper  treatment  can  be  applied.  The 
Hindu  lad's  hiding  from  his  father  his  act  of  dis- 
regard for  the  law  of  caste  must  not  be  dismissed 
with  the  word  "deception,"  but  the  act  must 
receive  consideration  as  it  is  related  to  a  possible 
new  vision  of  life  and  human  brotherhood. 

The  second  analogy  is  relative  to  the  method  of 
training  the  child.  In  both  fields  of  endeavor  the 
child  is  being  viewed  as  a  creator,  creating  his  own 
world  and  having  the  right  to  the  untrammeled 
development  of  his  own  personality  in  the  vast 
undertaking.  This  does  not  prevent  him  from 
entering  actively  into  the  heritage  of  the  race,  for 
in  his  very  endeavor  to  grow  a  personality  he  uses 
as  elements  of  growth  the  life  that  surrounds  him. 
When  the  rehgious  educator  has  planned  his 
curriculum  with  this  attitude  toward  child  life, 
the  child's  salvation  will  not  mean  his  passing 
through  certain  emotional  experiences  alone,  but 
his  entering  with  glad  co-operation  into  oneness 
with  the  divine  world  in  which  he  is  placed,  seeking 
to  realize  in  himself  the  divine  plan  and  thereby 
the  divine  "abundant  life."  The  emotion  of  such 
a  child's  religious  life  will  not  be  dependent  upon 
exciting  experiences,  but  upon  a  constant,  deep 


2  2      Handwork  in  Religious  Education 

fellowship  with  the  Creator  who  has  expressed 
himself  in  the  human  soul  and  in  the  physical, 
material  universe  in  which  the  child  grows  his  soul. 
The  social  emphasis  of  our  day  is  resulting  in  the 
gradual  elimination  of  class-consciousness  and 
separateness  and  the  stressing  of  human  sym- 
pathy in  the  deeper  understanding  of  the  hfe  men 
hve.  The  brotherhood  of  human  toil  is  the  great 
leveler  of  society  and  constitutes  its  bond  of  one- 
ness. The  child  who  is  taught  to  use  his  hands 
creatively,  to  make  even  in  weak  imitation  iu 
manual  arts  what  men  spend  a  lifetime  in  doing, 
will  enter  with  deeper  sympathy  into  a  common 
consciousness  of  human  hfe.  From  whatever 
class  of  society  he  may  have  come,  he  will  feel  the 
meaning  of  work  if  he  is  taught  to  be  a  worker. 
He  will  have  a  deeper  appreciation  of  the  efficient 
workman  and  his  contribution  to  his  day,  whether 
it  be  a  piece  of  construction,  an  artistic  pro- 
duction, or  a  literary  creation,  after  he  himself  has 
attempted  even  in  a  small  way  the  doing  of  those 
tasks.  Many  kinds  of  handwork  call  for  the 
co-operation  of  several  pupils,  and  here  again  is 
learned  the  social  lesson.  The  vision  of  Hfe's  goal 
is  of  men  as  workers  together  with  men  and  as 
''workers  together  with  God." 

REFERENCES   FOR   STUDY 

King,  Irving.     The  Psychology  of  Child  Development,  chaps, 
i-iii,  xvi. 


The  Teacher  and  Handwork  23 

King,  Henry  Churchill.     Rational  Living,  "The  Unity  of 

Man,"  chaps,  iv-viii. 
James,  William.     Talks  to  Teachers  on  Psychology;  and  to 

Students  on  Some  of  Life's  Ideals,  chaps,  iii-v. 

ASSIGNMENT    OF    HANDWORK:   PAPER-CUTTING    AND 
-MOUNTING 

Assign  to  each  member  of  the  class  the  working 
out  of  a  different  problem,  using  the  patterns  of 
Figs.  3-5,  7,  10,  and  11.  Encourage  the  use  of 
original  patterns.  Let  these  be  grouped  for 
posters,  as  in  Figs.  4  and  5,  or  mounted  in  a  book, 
as  shown  in  Figs.  9,  10,  and  11.  Have  some  of  the 
pictures  colored  with  crayolas  or  water  colors,  as 
directed  on  pp.  66-69.  Mount  some  of  the  cuttings 
with  a  Crayola  scenic  background,  as  shown  in 
Fig.  10.  Some  pupils  may  be  interested  in  the 
working  out  of  a  series  of  illustrations  for  some 
Bible  story  to  be  continued  through  several  lessons, 
as  shown  in  Figs.  9  and  16.  Special  attention 
may  be  given  to  different  methods  of  mounting: 
(i)  the  mounting  of  a  single  picture  upon  a  card 
of  harmonious  color  and  in  pleasing  proportions; 

(2)  the  grouping  of  the  cuttings  for  a  poster-effect; 

(3)  the  mounting  behind  glass  with  passe-partout 
binding,  as  for  any  framed  picture ;  (4)  the  arran- 
ging in  sequence  upon  leaves  to  be  bound  into  a 
book. 


CHAPTER  IV 

LAWS  OF  EDUCATION  AS  APPLIED  TO  EXPRES- 
SION WORK 

§  I.   RELATION  OF  THEORY  AND  PRACTICE 

The  science  of  education  has  had  its  long  and 
weary  discussions  relative  to  the  proper  relation- 
ship between  theory  and  apphcation,  or  between 
theory  and  practice.  The  educational  peace- 
maker will  insist  that  an  alternation  between 
theory  and  apphcation  is  necessary  for  the  calhng 
forth  of  the  largest  power  of  assimilation.  This 
alternation  may  be  expressed  very  accurately  in 
the  thought  of  a  circle,  where  theory  stimulates 
to  the  practical  application  of  it  and  the  practical 
apphcation  again  makes  the  theory  vital,  both 
being  primary  as  well  as  both  being  secondary. 
If  this  conception  is  true  educationally,  then  both 
are  equally  cultural,  for  they  are  both  indispen- 
sable. The  twentieth  century  is  insisting  that 
the  education  given  in  the  schools  shall  not  be  an 
end  in  itself.  The  thought  is  directed  once  more 
to  the  necessity  that  education  shall  prepare  for  a 
full  life,  which  means  not  only  the  ability  to  con- 
tinue better  thinking,  but  also  the  abihty  to  Hve 
Hfe  out  in  the  everyday  demands  of  a  physical 
world.     This  educational  conviction  is  producing 

24 


Laws  of  Education  in  Expression       25 

the  present  emphasis  upon  professional  and 
vocational  courses  in  the  later  years  of  our  public- 
school  system.  Education  must  result  in  adjust- 
ment to  all  the  relationships  of  life  and  in  the  abihty 
to  meet  life's  demands  industrially  as  well  as  other- 
wise; and  religion  undergoes  a  similar  expansion. 
It  must  mean  something  more  than  ability  to 
dream,  meditate,  and  withdraw  one's  inner  self 
from  harassing  problems;  it  must  mean  the  vital 
relation  of  the  inner  self  to  every  factor  of  life 
for  the  sake  of  the  right  employment  of  the  mate- 
rial world  for  the  growth  and  sustenance  of  life. 

§  2.     sensational  and  creative  activity 

Interest  in  the  physical,  the  material,  is  of  two 
kinds  in  the  life  of  every  individual.  There  is  the 
interest  due  to  a  wide  variety  of  materials,  and 
hence  many  stimulations.  This  is  well  expressed 
in  the  mania  for  travel  and  the  desire  for  pleasure, 
where  there  is  an  increasing  demand  for  larger 
stimulations  and  a  greater  number  of  them.  Soon 
there  comes  a  failure  to  react  to  moderate  stimu- 
lations, and  hence  a  loss  of  keenness  of  enjoyment. 
So  the  activity  of  the  mind  of  the  child  may  be 
produced  by  the  impact  of  stimulations  upon  it. 
This  is  seen  in  the  attempt  to  give  him  constantly 
new  objects  of  interest.  The  danger  is  that  very 
soon  he  will  be  satiated  and  the  effort  will  have  lost 
all  interest  to  him.     The  second  interest  in  the 


26      Handwork  in  Religious  Education 

physical  is  that  due  to  many  interpretations  and 
experiences  derived  from  a  narrow  range  of  mate- 
rials. Here  the  activity  of  the  mind  is  due  to  the 
challenge  of  the  materials  to  the  creative  power  of 
the  mind.  The  result  is  a  healthful  appetite  for 
intensive  study  and  investigation.  The  chance 
for  self-expression  holds  the  interest  continuously, 
life  ever  demanding  a  larger  creative  opportunity. 
The  distinction  between  the  two,  the  sensational 
activity  and  the  creative  activity,  is  well  illus- 
trated by  the  differences  between  the  interest  the 
child  takes  in  a  purchased  doll-house,  complete  in 
all  its  furnishings,  and  the  materials  for  the  con- 
struction of  one  of  his  own  under  wise  supervision. 
The  former  appeals  only  by  what  it  is,  the  second 
appeals  to  creative  imagination.  The  latter  there- 
fore opens  a  much  larger  world  to  the  child  life  in 
its  stimulations,  its  interest,  its  ideal  possibihties, 
and  its  creative  demands. 

§  3.    VITAL   interests 

Perfected  education  requires  the  abiHty  to  dis- 
cern parts  and  their  relationships,  but  also  abihty 
to  perceive  the  whole.  Well  known  is  the  tendency 
of  childhood  to  tear  apart  the  plaything  to  see 
what  makes  it  go,  and  quite  as  well  known  the 
tendency  to  attempt  to  put  things  together  in  the 
effort  to  make  '^something."  Expression  work 
satisfies  the  desire  of  the  child  to  know  the  parts 


Laws  of  Education  in  Expression       27 

that  compose  the  whole,  not  by  dissecting  or 
destroying,  but  by  constructing.  The  goal,  how- 
ever, places  as  the  ideal  the  attaining  of  the 
wholeness,  the  reahzation  of  the  desire  for  the 
completed,  the  unified. 

As  thought  has  always  sought  for  itself  muscular 
expression,  finding  its  satisfaction  in  objectifying 
itself,  so  the  rehgious  idea  is  finding  for  itself 
largest  satisfaction  in  the  objectifying  of  itself  in 
muscular  reactions  and  responses,  reahzing  itself 
in  an  ever-new  civihzation  of  physical  environ- 
ment and  social  service.  The  early  successes  of 
the  child  in  objectifying  his  thought,  even  in  a 
very  small  way,  is  a  worthy  beginning  of  this 
great  Hfe-process,  and  to  aid  in  the  work  is  a 
legitimate  function  of  the  Sunday  school. 

The  abihty  of  the  mind  to  retain  what  it  expe- 
riences, that  these  experiences  may  function  in 
subsequent  ones,  is  dependent  upon  the  number 
of  relationships  the  experiences  have  had  in  the 
mind.  One  seeks  to  recall  a  certain  person's 
name.  In  the  attempt  he  thinks  of  how  the  person 
looked,  of  the  sound  of  the  voice,  of  the  things  the 
person  was  doing,  of  the  appearance  of  the  name 
of  the  person  when  written.  The  memory  func- 
tions according  to  how  many  experiences  the  indi- 
vidual has  had  relative  to  the  matter  in  hand. 
A  spiritual  truth  will  have  power  in  a  life  in 
proportion  as  that  truth  has  many  relations  to 


28       Handwork  in  Religious  Education 

experiences  in  that  life.  The  truth  heard,  spoken, 
read,  written,  retold,  and  expressed  in  some 
material,  physical  form  will  be  more  compelling 
than  the  truth  that  is  merely  heard.  A  visual  or 
muscular  experience  in  which  personality  has 
centered  itself  relative  to  a  spiritual  idea  will  of 
necessity  make  that  idea  more  real  and  give  it  the 
ability  to  function  more  vitally  in  hfe.  It  will 
also  mean  the  relating  of  the  idea  to  practical 
living. 

REFERENCES   FOR   STUDY 

Henderson,  C.  H.     Education  and  Its  Larger  Life,  chap,  iv, 

"Organic  Education." 
Brown,  G.  Baldwin.     The  Fine  Arts,  review  chap,  i,  "Art  as 

Self-ExternaHzation,"  pp.  35-64. 
Froebel,  Frederick.     Education  of  Man,  chap.  i. 

ASSIGNMENT   OF   HANDWORK:      PAPER-TEARING 
AND  -MOUNTING 

Use  the  patterns  as  suggested  for  paper-cutting, 
pp.  53  if.,  64  if.  Suitable  paper  for  this  work  can 
be  procured  from  the  Milton  Bradley  Company, 
Springfield,  Massachusetts,  from  the  houses  carry- 
ing their  supplies,  or  from  any  good  paper  store. 
Let  care  be  taken  that  paper  easily  torn  is  used. 
Problems  similar  to  those  suggested  under  paper- 
cutting  are  appropriate  for  the  paper-tearing. 
Similar  methods  of  mounting  are  also  appropriate. 
Note  especially  the  story  illustration  in  sequences 
as  shown  in  Fig.  16.     Missionary  stories  may  be 


Laws  of  Education  in  Expression       29 

taken  as  subjects  for  illustrative  paper-tearing  in 
sequence.  A  child's  experience,  such  as  his  attend- 
ance at  Sunday  school,  may  be  told  while  illus- 
trations are  being  torn  from  paper.  The  trees 
and  birds  he  saw  on  his  way,  the  people  he  met^ 
the  church  building,  the  plants  in  the  Sunday- 
school  windows,  the  song-books  and  Bible,  the 
illustrations  of  the  lesson  told,  the  kindergarten 
circle,  the  bell  of  dismissal,  the  return  home,  etc., 
may  be  subjects  for  illustration. 


CHAPTER  V 

THE    PREPARATION   OF   THE    RELIGIOUS   EDU- 
CATOR IN  EXPRESSION  WORK 

In  this  day  of  many  systems  of  religious  edu- 
cation the  teacher  needs  to  have  a  comprehension 
of  the  field  of  expression  work  apart  from  any  of 
these  systems.  It  will  then  be  possible  to  apply 
scientifically  the  proper  kinds  of  work  to  the  task 
in  hand.  All  of  these  systems,  such  as  the  *^  Inter- 
national Sunday  School  Lessons,"  the  *' Com- 
pletely Graded  Series,"  the  '^Constructive  Studies," 
etc.,  are  now  putting  emphasis  upon  handwork. 
A  very  good  preparation  for  the  teacher  who  plans 
to  teach  according  to  any  one  of  these  systems  is 
the  actual  study  of  the  lessons  and  the  actual  per- 
formance of  the  handwork  suggested.  In  each 
case  it  will  present  a  comprehensive  system.  In 
addition  to  the  handwork  suggested,  the  teacher 
in  training  should  supply  original  plans  of  hand- 
work for  each  lesson. 

§  I.      ACQUAINTANCE   WITH   THE  FINE   ARTS 

A  necessary  preparation  of  the  teacher  for  any 
line  of  expression  work  is  that  in  relation  to  the 
fine  arts.     A  really  artistic  basis  is  essential  to  the 

30 


Preparation  of  Religious  Educator     31 

doing  of  handwork  lest  the  creations  be  inhar- 
monious, crude,  or  even  grotesque.  The  reading 
of  one  good  book. on  art,  such  as  The  Fine  Arts  by 
G.  Baldwin  Brown,  will  usually  meet  the  demand. 
A  teacher  can  afford  in  her  preparation  to  put 
special  emphasis  upon  this  fundamental  phase  of 
all  expression  work.  It  will  give  character  to  all 
the  handwork  undertaken. 

To  this  end  certain  topics  are  important  for 
study.  Consider  first  the  necessity  of  acquaint- 
ance with  the  fine  arts.  This  will  include  the  his- 
tory of  painting :  the  study  of  (a)  artists,  their  Hves 
and  art  contributions;  ih)  rehgious  conceptions 
and  interpretations  of  art;  (c)  the  uses  made  of 
painting  by  religion,  both  in  the  history  of  the 
church  and  in  the  present  day;  {d)  the  great  art 
productions,  the  story  of  their  composition,  and 
their  history;  {e)  the  uses  of  specific  pictures  for 
present  rehgious  education.  It  will  also  include 
the  history  of  architecture:  [a)  the  plan  and 
decoration  of  religious  structures;  {h)  the  location 
and  history  of  great  cathedrals;  (c)  the  conceptions 
expressed  in  architecture;  {d)  the  great  architects 
of  the  past;  {e)  the  stories  of  the  laborers  upon  the 
great  rehgious  edifices.  In  addition  to  painting 
and  architecture  the  history  of  sculpture  will  have 
a  conspicuous  place:  (a)  its  use  in  religious 
edifices;  {h)  its  religious  representations  in  pieces 
of  sculpture;    (c)  sculptors  and  the  story  of  their 


32      Handwork  in  Religious  Education 

work.  The  acquaintance  with  rehgious  art  should 
include  also  a  knowledge  of  the  art  collections 
illustrative  of  Bible  stories,  scenes,  and  ideas,  how 
to  use  them,  and  where  to  procure  them. 


§  2.       THE   USE    OF   ART 

There  is  the  opportunity,  first  of  all,  for  the 
decoration  of  the  schoolroom  by  the  use  of  pictures 
and  blackboard  art  work.  Loan  collections  of 
sculpturing  and  pictures  may  be  secured  and  put 
on  display.  The  teacher  should  know  what  a 
community  affords  in  art  productions  that  could 
be  used  in  a  room  for  religious  education.  Then 
art  may  also  be  used  for  lesson  illustration.  Fihng- 
cases  for  art  reproductions  mounted  upon  paste- 
board are  proving  most  satisfactory.  (Many 
magazines  afford  excellent  art  pieces  for  such  a 
purpose.)  From  such  a  collection  in  the  Sunday- 
school  room  may  be  taken  those  especially  illus- 
trative each  Sunday  of  the  lesson  to  be  presented. 
Then  there  is  the  use  of  art  reproductions  in  con- 
nection with  the  handwork  among  the  pupils 
(these  copies  of  pictures  can  be  obtained  for  the 
price  of  from  one-half  cent  to  five  cents  each): 
(a)  to  be  put  into  the  hands  of  the  pupils  so  that 
the  Bible  stories  when  thus  illustrated  may  be 
more  concrete;  (b)  to  illustrate  Bible  passages 
cut  out  or   copied  by  the  pupils;   (c)    to  illus- 


Preparation  of  Religious  Educator     33 

trate  the  pupils'  handwork;  (d)  to  illustrate  some 
religious  theme. 


§  3.      THE   REPRESENTATION   OF   ART 

The  teacher  should  know  the  field  of  represen- 
tation of  art.  The  field  of  drawing  is  very  rich, 
and  for  the  work  that  is  necessary  it  can  be  entered 
by  the  average  Sunday-school  teacher.  The  draw- 
ing on  paper  to  be  made  into  booklets  or  on  the 
blackboard  may  represent  {a)  some  nature  fact 
for  moral  instruction  and  rehgious  stimulation, 
such  as  botanical  forms,  flowers,  shocks  of  wheat, 
etc.;  ih)  some  beauty  forms  to  call  forth  religious, 
aesthetic  reactions,  such  as  geometrical  forms 
illustrative  of  stars,  etc.,  as  well  as  the  conven- 
tionaHzed  representation  of  fruit  and  flowers; 
(c)  some  interpretative  landscape  or  marine  scene, 
such  as  a  city,  a  sailboat,  a  stormy  sea;  {d)  a 
symboHc  representation,  such  as  the  cross,  the 
shield,  the  crown,  etc.;  {e)  illustrations  of  his- 
torical scenes,  such  as  the  Three  Wise  Men  on  their 
pilgrimage,  the  shepherds  on  the  hillside,  Abra- 
ham's altar  under  the  oak,  etc.  For  the  more 
advanced  work  there  should  be  the  knowledge  of 
painting.  Color  adds  only  to  the  power  of  stim- 
ulation and  pure  representation.  Black-and-white 
pictures  usually  seem  to  serve  quite  as  well  as 
colored  ones. 


34      Handwork  in  Religious  Education 

The  religious  educator  will  be  able  to  use  to 
great  advantage  a  knowledge  of  designing.  There 
is  {a)  the  decorative  work  (this  may  be  blackboard 
decorations,  posters,  book-covers,  and  fancy  letter- 
ing) ;  {h)  illustrative  work  for  written  productions, 
histories,  Bible  selections,  hymns,  stories,  hves  of 
missionaries  and  their  mission  work,  and  social- 
service  activities;  (c)  rehgious  symbols,  mono- 
grams and  conventional  forms  for  pennants,  pins, 
costumes,  class  or  school  stationery,  decorations 
of  the  room  or  church. 

§  4.      CONSTRUCTION   WORK 

The  religious  educator  must  of  necessity  in  these 
days  understand  the  field  designated  as  con- 
struction work.  There  will  be  {a)  the  making  of 
maps,  papier  mache,  sand,  plasticine,  etc.,  and 
their  coloring;  {h)  mounted  paper- tearing  and 
-cutting,  e.g.,  styles  of  oriental  houses,  utensils, 
tools,  trees,  cities,  also  the  people  and  things  illus- 
trative of  religious  stories;  (c)  modehng  work  of 
oriental  houses  and  temples,  reproductions  of 
utensils,  etc.,  also  of  things  representing  the  habits 
and  customs  of  people  of  Bible  times  or  of  mission 
lands  (these  may  be  made  of  clay,  cover-paper, 
raffia  and  reed,  or  wood;  this  field  of  work  may 
be  closely  related  to  the  manual-training  depart- 
ment of  any  educational  institution) ;  {d)  basketry 
(the  reed  and  raffia  may  be  used  for  the  repre- 


Preparation  of  Religious  Educator     35 

sentation  and  reproduction  of  many  customs  and 
objects  and  for  the  making  of  prizes  or  gifts); 
{e)  bookbinding  to  put  the  work  done  into  per- 
manent form,  or  finer  binding  to  give  aesthetic 
significance  to  the  work;  (/)  the  framing  and 
mounting  of  pictures  used  (the  frames  may  be  of 
raffia  or  reed,  of  paper  construction,  of  passe- 
partout binding,  of  leather,  or  of  wood). 

It  need  scarcely  be  said  that  if  this  work  is 
mastered  by  the  religious  educator  it  will  not  only 
have  significance  in  fitting  him  later  to  be  the  guide 
of  his  pupils,  but  will  mean  very  much  for  the 
enlargement  of  his  own  life. 

REFERENCES   FOR   STUDY 

Puffer,  Ethel  D.     The  Psychology  of  Beauty,  "The  Beauty 

of  Fine  Art,"  pp.  91-148. 
Brown,  G.  Baldwin.     The  Fine  Arts,  pp.  100-409. 

ASSIGNMENT  OF  HANDWORK:   CONSTRUCTION  WORK 

Using  Figs.  21-24,  model  with  construction 
paper  a  building  representative  of  the  life  of  Bible 
times  or  of  the  hfe  of  mission  fields.  For  sugges- 
tions note  directions  under  ''Construction  Work," 
chap,  viii,  paragraph  No.  12.  In  Sunday-school 
journals,  Bible  atlases  or  commentaries,  and  mis- 
sionary magazines  find  designs  for  original  con- 
struction. If  such  work  is  of  special  use  to  the 
children  to  be  instructed  later,  let  there  be  the 


36       Handwork  in  Religious  Education 

preparation  of  the  rooms  essential  to  the  proper 
arrangement  of  a  household.  Note  as  a  basis  for 
such  construction  Figs.  27  and  28.  For  the  glue 
use  Le  Page's  glue  already  prepared,  or  use 
powdered  glue  which  can  be  purchased  by  the 
pound  at  any  paint  and  glass  store  and  at  most 
drug  stores.  Make  the  glue  of  the  desired  thick- 
ness, using  water  and  melting  the  glue,  preferably 
in  a  double-boiler  glue-pot. 


PART  II.     THE  PUPIL  AND  PHYSICAL 
EXPRESSION 


CHAPTER  VI 

EXPRESSION  WORK  APPLIED  TO  THE  DEVELOP- 
ING STAGES  OF  LIFE 

Every  period  of  life  has  its  proper  expression. 
This  is  determined  by  the  interests  characteristic 
of  that  period.  The  power  of  apperception,  of 
assimilation,  is  dependent  upon  the  suiting  of 
materials  to  these  interests.  But  this  task  is  more 
than  the  fitting  of  the  activity  to  the  character- 
istics of  the  period  to  which  the  pupil  belongs;  it 
is  the  adapting  of  the  activity  to  the  individual's 
interests  and  ability.  This  adaptation  must  be 
made  in  the  materials  employed,  in  the  use  of  those 
materials,  in  the  goal  to  be  set  in  the  activity,  in 
the  judgment  to  be  passed  upon  the  results.  We 
shall  not  expect  geniuses,  though  there  will  be  some 
real  talent  in  any  class  of  pupils.  Motor-minded 
individuals  will  excel  in  the  technique  of  physical 
expression,  the  sensory-minded  in  the  meaning, 
the  interpretation  of  that  activity.  The  teacher 
must  know  what  he  can  legitimately  expect  of 
pupils  of  a  specific  amount  of  training,  but  his 
knowledge  must  go  farther:  he  must  know  the 
possibilities  of  the  materials  used.  Hence  teacher- 
training  in  physical  expression  must  far  excel  the 
work  to  be  expected  of  the  pupil. 

39 


40      Handwork  in  Religious  Education 

In  order  to  indicate  the  work  to  be  pursued  with 
pupils  of  any  given  period  of  development,  the 
interests,  the  ability  to  be  cultivated,  and  the  work 
to  be  presented,  the  following  outhne  is  given: 

§  I.    KINDERGARTEN 

Materials  other  than  those  of  pure  art  are  more 
satisfactory  for  the  kindergarten  period. 

a)  Interest: 

(i)  Handling  of  material. 

(2)  Changing  forms  as  accompaniment  of  the  pupil's 
changing  thoughts. 

(3)  Imagination  basal. 

(4)  Nothing  intermediate  between  idea  and  result. 

b)  Ability  to  be  cultivated: 

(i)  Free  constructive  activity. 

(2)  Not  imposed  plans,  not  value  attached  to  result. 

(3)  Thinking   naturally   in   art   expression — tendency 
to  express  in  symbols  as  well  as  in  words. 

(4)  Knowledge  of  simple  forms  and  recognition  of  their 
representation. 

(5)  Recognition  of  simple  colors  and   their  use  for 
blocking  in  representations. 

c)  Work  to  be  given: 

(i)  Free  drawing   with   pencil — suggestions   but   not 
pattern — and  free  construction  work. 

(2)  Crayola-rubbed  surfaces  out  of  which  figures  are  cut. 

(3)  Coloring  with  crayolas  within  drawn  patterns. 

(4)  Coloring  of  prints. 

(5)  Simple  water-color  washes. 

(6)  Mounting  of  pictures. 

(7)  Border  designs — simple. 

(8)  Simple  paper-cuttings  and  -tearings. 


Expression  in  Developing  Stages        41 

§  2.    GRADES   I-II 

a)  Interest    same    as    above.    A    little    additional    value 

attached  to  results. 

b)  Ability  to  be  cultivated : 

Readiness  to  illustrate  ideas  however  crudely — draw- 
ing used  as  a  language. 

c)  Work  to  be  given : 

(i)  Rapid  use  (molding)  of  materials,  such  as  sand  and 
clay. 

(2)  Border  designs  as  frames  for  pictures  and  paper- 
cutting. 

(3)  Simple  pattern  pictures  for  crayola,  blackboard, 
and  water-color  work. 

(4)  Collections  of  colors,  flowers,  papers,  etc. 

(5)  Paper-cutting  and  -tearing  and  their  mounting. 

(6)  Simple  paper-folding. 

(7)  Beginning  of  work  in  wood  and  reed. 

§  3.      GRADES  iii-v 

a)  Interest: 

(i)  Not  satisfied  with  transformation  of  material  by 
imagination. 

(2)  Results  become  important;    permanency  and  use 
important. 

(3)  Intermediate  means  of  attaining  results,  the  object 
of  attention. 

(4)  Organized  activity  (age  of  organized  play). 

(5)  Larger  use  of  tools — skiU  in  use  a  matter  of  concern. 

(6)  Desire  to  represent  truthfully  and  to  picture  differ- 
ent effects. 

b)  Ability  to  be  cultivated: 

(i)  Use  of  patterns,  designs — to  shape  materials  as 

predetermined. 
(2)  Care  and  skill  in  use  of  tools — ability  to  express 

a  given  thought  with  increasing  completeness. 


4^      Handwork  in  Religious  Education 

(3)  Some    intellectual    control — thinking    things    out 
ahead. 

(4)  Discrimination  of  colors. 

(5)  Correct  judgment  of  general  proportions  by  the  eye 
rather  than  by  measurements. 

c)  Work  to  be  given: 

(i)  Simple  geometric  relations  of  vertical,  horizontal, 
and  parallel  as  involved  in  simple  drawings. 

(2)  Rhythmic  arrangement  in  border  and  surface  pat- 
terns. 

(3)  Pleasing  arrangements  within  inclosed  spaces,  etc. 

(4)  Bilateral  symmetry  and  its  methods. 

(5)  Collection  of  samples  for  color-groups. 
Discrimination  in  sorting  colors. 

(6)  Arranging  colors. 

(a)  Complementary  color-schemes. 

(b)  Value  schemes. 

(7)  Appearance  of  objects  in  different  positions. 

(8)  Modification  of  natural  forms  for  designs. 

(9)  Interpretative  images  (type  forms) . 

(a)  Geometric  relations. 

(b)  Animal  forms. 

(c)  Plant  forms. 

(d)  Forms  of  rectilinear  and  curvilinear  construc- 
tion. 

(10)  Simple  map  constructions. 

(11)  Coping  saw  work. 

(12)  More  difficult  construction  work. 

(13)  Beginning  of  written-work  creations. 

§  4.      GRADES   VI-VIII 

a)  Interest: 

(i)  Sustained  purpose — a  final  end. 
(2)  Accuracy  according  to  pattern  or  idea,  conformity 
to  reality. 


Expression"  in  Developing  Stages        43 

(3)  Interest  in  real  life,  deflection  from  school. 

(4)  Sympathetic  interest  in  art  activities  of  others — 
historical  and  practical. 

b)  Ability  to  be  cultivated: 

(i)  Use  of  drawing  as  a  means  of  explanation  and 
description. 

(2)  Clear  visual  patterns. 

(3)  Orthographic  reading. 

(4)  Rapid  sketching. 

(5)  Accurate  scientific  sketching. 

(6)  Good  taste  in  beauty  of  form  and  harmony  of  color. 

(7)  Knowledge  of  art  history  and  art  as  a  vocation. 

c)  Work  to  be  given: 

(i)  Geographical  drawings  and  map-modelings. 

(2)  Flower  and  plant  shadow-pictures  for  foreshorten- 
ing and  delicacy. 

(3)  Blueprints  (for  nature-study). 

(4)  Different  arrangements  of  leaf,  flower,  or  object 
drawn. 

(5)  Matching  in  water  colors  the  colors  of  plants,  etc. 

(6)  Balancing  in  design,  also  more  bilateral  symmetry. 

(7)  Appreciation  of  demands  and  limitations  of  deco- 
rative work. 

(8)  Perfect  matching  of  color  by  mixing  of  water  colors. 

(9)  Development  of  intensity  color-schemes. 

(10)  Representation  of  moods-of-nature  effects. 

(11)  "Rapid     descriptive     sketches,     well-constructed 
drawings,  truthful  records  of  observations." 

(12)  Completed  pictures  in  pencil,   crayon,   or  water 
colors. 

(13)  Careful  construction  work. 

(14)  Advanced  work  in  the  crafts:    bookbinding,  wood- 
work, reed  and  raffia  work. 

(15)  Landscape  sand-modeling. 


44      Handwork  in  Religious  Education 

§  5.      ADOLESCENCE    ( YEARS   FOURTEEN   TO   EIGHTEEN) 

a)  Interest: 

(i)  A  goal  ideally  conceived. 

(2)  Vocational  appeal  and  decision. 

(3)  Social  fellowship. 

(4)  Love  of  the  ideal. 

(5)  Mastery  over  the  lower,  the  physical. 

(6)  Consecration  to  life  objectively. 

(7)  Inner  religious  meaning  of  life  and  its  experiences. 

b)  Ability  to  be  cultivated: 

(i)  Drawing  from  nature. 

(2)  Copying  of  simple  scenes  of  life  and  nature. 

(3)  Artistic  choices  in  the  environing  of  life. 

(4)  Fellowship  with  the  beautiful  of  life  everywhere. 

c)  Work  to  be  given: 

(i)  More  perfect  execution  of  work  done  in  the  higher 
grades. 

(2)  Vocational  decisions  in  relation  to  artistic  demands 
of  personality,  the  attitude  of  idealism  toward  the 
daily  tasks. 

(3)  Manual-training  work  as  recreation. 

(4)  Cultivation  of  art  expression  for  which  one  has 
special  talent. 

(5)  Fellowship  with  great  artists,  sculptors,  and  archi- 
tects of  the  world. 

(6)  Mastery  of  craft  materials. 

REFERENCES   FOR   STUDY 

Sargent,  Walter.    Fine  and  Industrial  A  rts. 

Coe,  George  A.  Education  in  Religion  and  Morals,  "  Periods 
of  Development,"  pp.  226-67. 

Dopp,  Katharine  Elizabeth.  Place  of  Industries  in  Ele- 
mentary Education,  ''Practical  Applications,"  pp.  97- 
173,  173-242. 


Expression  in  Developing  Stages       45 

King,  Irving.     The  Psychology  of  Child  Development,  pp. 
171-233. 

assignment  of  handwork:    papier-mache  maps 

Prepare  the  paper  pulp  as  directed  in  chap,  viii, 
paragraph  13.  Assign  the  different  countries  of 
interest  in  mission-  or  Bible-study  to  the  various 
members  of  the  class.  Let  each  have  the  story 
of  some  character  or  event  connected  with  the 
country  constructed  ready  for  presentation  to  the 
class  upon  the  completion  of  the  map.  Use 
Diamond  dyes  or  water  colors  for  the  proper  color- 
ing, to  divide  into  provinces  or  to  locate  places  or 
to  trace  journeys.  A  small  section  of  a  country 
may  be  prepared  rather  than  the  entire  continent. 
For  the  making  of  the  map  and  the  mounting  of  it 
when  dry,  note  the  careful  directions  given  under 
*' Map-Modeling." 


CHAPTER  VII 

SUGGESTIONS  FOR  EXPRESSION  WORK  IN  THE 
SUNDAY  SCHOOL 

§  I.      FOR  KLNDERGARTEN  CHILDREN 

a)  Cutting  out  pictures  outlined: 

(i)  Flower  designs  to  be  used  for  Sunday-school  room 
decorations,  blackboard  borders,  picture-mounting 
borders,  etc. 

(2)  Pictures  for  mounting,  suggesting  religious  ideals 
or  historic  events,  e.g.,  lilies  for  Easter;  early- 
flowers  and  birds  for  the  spring's  coming;  camels, 
star,  and  pilgrims  for  Christmas. 

(3)  Symbolic  designs,  e.g.,  cross,  dove,  star. 

b)  Picture-coloring  of  foregoing  cut  designs,  illustrative 
magazine  pictures,  black-and-white  pictures  of  specific 
religious  character. 

c)  Freehand  cutting  and  later  tearing  of  such  as  were  cut 
from  outline  above. 

d)  Card-sewing  of  symbolic  religious  designs,  and  animals 
important  in  Bible  stories. 

e)  Paper-folding: 

Beauty  designs;  little  picture  frames,  in  which  to  put 
half-penny    Perry  pictures  or  pictures   cut    from 
papers;    objects  mentioned  in   Bible,   as   houses, 
mountains,  books,  baskets,  ships. 
/)   Drawing: 

With  colored  crayons  to  represent  some  prominent 
feature  of  a  Bible  story. 
46 


Expression  in  the  Sunday  School       47 

g)   Construction : 

Simple  oriental  houses,  articles  of  furniture  in  cover- 
paper;  clay  forms  of  fruits,  animals,  utensils. 
h)  Kindergarten  blocks  for  telling  stories — construction. 

§  2.   FOR  PRIMARY  CHILDREN    (YEARS   SIX   TO   NINE) 

The  above  lines  but  with  more  careful  direction  and 
more  elaborate,  also: 

a)  Paper-cutting  and  -tearing. 

For  story  illustration,  not  only  Bible  stories,  but  reli- 
gious stories  generally,  e.g.,  illustrative  cuttings  repre- 
senting crucial  events  of  Jesus'  life: 
(i)  Babyhood — stable  and  animals,   shepherd's  crook 

and  sheep,  camels  and  star  and  pilgrims,  king  and 

crown,  city,  mule. 

(2)  Temptation  and  baptism — temple,  bread,  angels 
(Hoffman's  used  as  type),  dove,  men  (Hoffman's 
used  here  also). 

(3)  Ministry — illustration  of  some  parables  and  miracles, 
e.g.,  necklace  with  missing  coin,  money  bag,  ships 
and  fish,  water  jars. 

(4)  Passion  Week — city  and  open  gate,  palm  branches, 
lame  people  in  the  temple,  grapes,  cup,  cock,  gar- 
ments, crosses. 

(5)  Resurrection— open  tomb,  Easter  lilies. 

b)  Picture-coloring  and  border  designs: 

Pen  and  ink  work,  crayola  work,  and  water  colors, 

c)  Mounting  of  pictures  with  aesthetic  taste  and  suitable 
covers  with  decorations.     Written- work  decoration. 

d)  Cutting  of  Bible  passages  and  artistically  illustrating 
with  Perry  pictures — suitable  borders  and  decorations 
of  cover. 

e)  Construction: 

More  elaborate  and  including  houses,  temples,  etc., 
of  foreign  fields  for  missionary  instruction. 


48      Handwork  in  Religious  Education 

§3.      FOR    LATER    CHILDHOOD     (YEARS    TEN     TO    THLRTEEN) 

a)  Many  of  above  continued. 

b)  Map-modeling: 

Papier  mache,  sand,  plasticine,  of  Bible  and  mission 
lands.  Location  of  places,  routes  of  journeys, 
scenes  of  great  events,  present-day  mission  stations. 

c)  Realistic  scene  constructions  (may  be  in  former  period) : 

Sand  table  arranged  to  represent  Bible  or  mission 
scenes,  e.g.,  Hebron  on  the  hill,  oak  trees,  Abra- 
ham's tents  and  flocks,  altars  of  stone,  etc.  (to  be 
constructed  as  story  is  told) . 

d)  Arranging  of  picture  lives,  e.g.,  a  picture  hfe  of  Jesus, 
using  Perry  or  Brown  pictures,  cutting  out  Bible  descrip- 
tions of  these  pictures,  decorating,  binding,  tooling. 

e)  Construction  work: 

Models  in  cover-paper,  wood,  or  raffia  of  such  as 

temple,  furniture,  trees,  houses,  etc.     A  grouped 

scene  made  representing  a  locality  or  historic  scene. 

/)   Making  of  envelopes,  portfolios,  and  binding  of  books  to 

keep  work  permanently.     Decorative  lettering.     Passe- 

partouting  and  framing  of  pictures. 

§  4.      FOR  ADOLESCENCE  (yEARS  FOURTEEN  TO  EIGHTEEN) 

a)  Harmonies  with  picture  illustrations,  border  designs, 
beautiful  bindings,  and  cover  designs. 

b)  Compositions,  printed,  decorated,  etc. 

c)  Lives  of  authors,  artists,  song-writers,  missionaries, 
philanthropists  written,  illustrated  by  purchased  pictures 
and  by  design  work  and  artistically  arranged  and  deco- 
rated. 

d)  Construction  of  models,  going  into  the  tool-work. 

e)  Plans  for  special  occasions,  room  decorations,  black- 
board drawings,  charts  and  maps,  souvenirs  to  be  given 
to  pupils. 


Expression  in  the  Sunday  School       49 

/)   Art  productions — perhaps  only  copies.     Not  all  could 
do  these. 

Throughout  these  periods  blackboard  work  is 
used  to  good  advantage;  box-  and  basket-making 
for  use  on  May  Day,  Christmas,  birthdays,  etc., 
can  be  made  of  increasing  complexity  and  beauty; 
decorated  invitations,  programs,  favors,  souvenirs, 
reminders,  and  posters  give  opportunity  for  varying 
grades  of  artistic  abihty. 

REFERENCE   FOR   STUDY 

Littlefield,  Milton  S.     Handwork  in  the  Sunday  School. 
ASSIGNMENT   OF   HANDWORK:      SAND   MAPS 

The  molding  of  sand  maps  affords  great  oppor- 
tunity for  co-operative  work  among  several  mem- 
bers of  the  class.  Let  the  general  proportions  be 
decided  upon  so  that  all  will  work  according  to  a 
given  scale.  Aroimd  the  sand  table  may  be 
grouped  to  good  advantage  at  least  four,  each  one 
being  responsible  for  a  given  part.  A  sand  map 
upon  which  can  be  traced  Paul's  journeys  will 
present  a  problem  of  vital  interest  to  the  Bible 
student.  A 'map  constructed  to  show  the  oriental 
world,  representing  the  lands  into  which  the  chosen 
people  went  as  captives,  will  make  plain  to  the  mere 
observer  the  philosophy  of  their  history  and  the 
natural  reasons  for  their  varied  national  expe- 
riences.    Assign  to  some  members  of  the  class  the 


50      Handwork  in  Religious  Education 

working  out  of  landscape  scenes  for  Bible  or  mission 
stories,  as  suggested  under  *' Construction  Work/' 
chap,  viii,  paragraph  12,  such  as  the  series  of 
scenes  representing  the  Hfe  of  Abraham  and  the  Hfe 
of  Jesus.  The  story  of  the  wilderness  wanderings 
of  the  children  of  Israel  and  the  final  entering  of 
Canaan,  the  story  of  Samson,  the  experiences  of 
Elijah  and  the  house  of  Ahab,  the  journeys  of  Jesus 
during  his  ministry — such  as  these  present  excep- 
tional opportunities  for  a  series  of  scenes  com- 
bining the  sand  maps  and  the  construction  work. 
History  and  geography  can  most  quickly  be  mas- 
tered by  this  method.  This  will  give  reality  to 
the  Bible  records  as  nothing  else  can  do. 


CHAPTER  VIII 

DETAILED   SUGGESTIONS  FOR  EXPPESSIOX 
WORK 

§  I.      CARD- SEWING 

Perforated  cards  can  be  purchased  from   the 
Milton    Bradley    Company,    Springfield,    Massa- 


FiG.  I. — Card-sewing  to  be  used  with  Bible  stories 

chusetts.     The  teacher  may  plan  upon  these  the 
design  she  desires  the  children  to  sew.     Or  she 

51 


52      Handwork  in  Religious  Education 

may  procure  the  cardboard  and,  using  the  per- 
forating needle  and  pad  procured  from  Bradley's, 
or  a  common  awl,  make  such  designs  as  desired. 
(The  felt  pads  can  be  made  by  gluing  a  piece  of 


wmm 


mm 


Fig. 
lessons. 


-Sequence  of  flower  design  in  card-se\A'ing  for  Nature 


felt  on  to  a  stiff  clothboard.)  Use  the  colors  of 
yarn  suitable  for  designs.  There  may  be  sequences 
of  design,  as  shown  in  the  flowers  in  Fig.  2.  For 
the  very  small  children  who  cannot  use  a  needle, 
designs  such  as  the  stars  in  the  circles  (Fig.  i)  can 


Suggestions  for  Expression  Work       53 

be  made.  The  card  is  cut  from  the  edge  toward 
the  center  to  the  points  of  the  star  and  the  yarn 
is  woven  into  these  incisions.  Other  designs  can 
be  made  on  the  same  plan. 

§  2.      PAPER-CUTTING 

The  cutting  out  of  pictures  in  outhne  is  one  of 
the  earhest  interests  of  childhood.  The  observant 
teacher  will  collect  from  magazines,  papers,  and 
books  many  suggestive  pictures.  These  can  be  cut 
out  by  the  youngest  children  if  they  are  traced 
beforehand  for  them.  Remember  that  blunt 
scissors  for  small  children  are  easily  procured. 
Older  pupils  can  trace  them  and  even  cut  out 
original  patterns  to  be  used.  These  patterns  (see 
Fig.  3)  may  be  illustrative  of  the  joys  and  blessings 
of  childhood,  special  days,  such  as  Christmas, 
Thanksgiving,  Easter,  picnic  day,  gardening  day, 
etc.  Other  patterns  may  illustrate:  Bible  stories 
such  as  the  parables  of  the  Good  Samaritan,  the 
Pharisee  and  the  Publican,  the  Lost  Coin,  the 
Sower,  etc.;  the  animals  of  the  Bible;  the  Bible 
characters  such  as  Elijah  fed  by  the  ravens,  Jesus 
and  the  liHes  (see  Fig.  10),  David  in  defense  against 
the  beasts,  Abraham  as  a  shepherd;  flowers,  etc. 
These  may  be  used  as  illustrative  of  the  day's 
Sunday-school  lesson,  arranged  as  posters  (see 
pictures,  Figs.  4  and  5),  put  into  groups  repre- 
senting some  biblical  scene  or  religious  idea  (see 
Fig.    4,    the    Three    Wise   Men,    the    Triumphal 


54      Handwork  in  Religious  Education 


Suggestions  for  Expression  Work       55 


KJEiSu  RU 


Fig.  4. — Paper-cuttings  mounted  as  posters 


Fig.  5. — Paper-cuttings  mounted  as  posters  and  colored 


56      Handwork  in  Religious  Education 

Entry),  given  as  souvenirs  to  the  children  to  make 
the  lesson  concrete,  used  for  wall  or  blackboard 
decorations.  For  blackboard  work  the  patterns 
may  be  traced  on  the  board  and  then  shaded  or 
colored,  or  the  pattern  may  be  held  on  the  board 
and  the  eraser  on  which  chalk  has  been  rubbed 
passed  over  it,  making  the  edges  illuminated  as  in 
Fig.  6.  Figure  7  represents  the  children  of  mission 
fields  and  the  homes  in  which  they  Kve,  the  Eskimo, 
the  Korean,  the  African,  the  Chinese,  the  Japa- 
nese, the  American  Indian.  These  are  crayola- 
decorated  paper-cuttings. 

Paper-cutting  may  be  illustrative  of  the  life  of 
Jesus,  as  shown  in  Fig.  9. 

Many  of  the  patterns  shown  above  are  freehand 
cuttings,  as  are  also  the  cuttings  shown  in  Figs.  7 
and  9. 

Pictures  cut  from  missionary  reports  and  maga- 
zines, as  well  as  photographs,  may  be  arranged 
in  a  poster  such  as  Fig.  8.  Figure  8  has  at  the  top 
a  pen  picture  with  the  verse : 

I  want  to  send  a  whisper  song 

Across  the  waters  blue, 
And  say  to  all  the  little  folks, 

''Jesus  loves  you." 

The  poster  is  composed  of  pictures  of  children  of 
all  lands.  A  poster  of  photographs  and  pictures 
of  students  of  all  lands  is  effective.  In  the  midst 
may  be  placed  in  fancy  lettering  the  words,  ^'They 


Suggestions  for  Expression  Work       57 


Fig.  6. — Paper  pattern  used  for  illuminated  blackboard  figure 


58      Handwork  in  Religious  Education 


Suggestions  for  Expression  Work       59 


6o      Handwork  in  Religious  Education 


shall  come  from  the  East  and  the  West  and  shall 
sit  down  in  the  Kingdom  of  God." 

More  elaborate  paper-cutting  and  -mounting 
with  crayola-drawn  scenic  background  may  illus- 
trate Bible  stories,  as  seen  in  Fig.  lo.     The  customs 


Fig.  9. — Paper-cuttings  illustrating  events  of  Jesus'  life 

of  mission  lands  or  the  scenes  of  a  missionary  enter- 
prise may  be  arranged  in  serial  form,  as  is  the 
life  of  Jesus  in  Fig.  9.  The  well-known  kinder- 
garten parquetry  work  in  colored  papers  is  well 
illustrated  in  the  paper-cuttings  and  -mountings 


Suggestions  for  Expression  Work      6i 


^            - 

IlaI 

Fig.  io. — Bible  scenes  in  paper-cuttings  with  scenic  mount- 
ings. I,  "And  Abram  built  there  an  altar."  2,  "He  took  one 
of  the  stones  and  lay  down  to  sleep."  3,  Abraham  and  his  altar. 
4,  "Peace  on  earth."     5,  "Consider  the  lilies." 


62      Handwork  in  Religious  Education 


Fig.  II. — New  Testament  illustrations  in  paper-cutting  and 
-mounting. 


Suggestions  for  Expression  Work       63 

of   fruit   and    flowers   and   Japanese   lanterns   of 
Fig.  14. 

In  paper-cutting  the  paper  that  is  cheapest  and 
can  be  used  to  excellent  advantage  is  the  manila 
paper,  or  the  reverse  side  of  wall  paper,  especially 
if  that  of  a  soft  or  neutral  color  can  be  obtained. 
Discarded  rolls  of  wall  paper  can  be  found  in  most 
homes. 

§  3.      STENCILING 

Closely  allied  to  the  paper-cutting  in  its  general 
effect  is  the  work  with  stencils.  Stencils  may  be 
made  by  pricking  with  a  perforating  needle,  or 
awl,  the  outHne  of  the  design  or  figure  desired. 
It  is  far  more  satisfactory  to  buy  stencils  already 
prepared,  at  the  price  of  5  and  10  cents,  from  some 
picture  firm,  such  as  George  F.  Brown  &  Company, 
Beverly,  Massachusetts,  or  the  United  Educational 
Company,  61  East  Ninth  Street,  New  York.  The 
paper  upon  which  the  stencil  is  made  is  placed 
upon  the  blackboard  with  the  rough  side  out.  A 
blackboard  eraser,  upon  which  has  been  put 
powdered  chalk,  is  passed  Hghtly  over  the  design. 
Upon  removal  it  is  found  that  the  outline  of  the 
design  is  apparent.  The  drawing  of  the  design 
over  these  dotted  Hues  is  a  very  easy  matter. 
Later  the  design  may  be  shaded  and  left  as  a 
black-and-white  picture,  or  the  design  may  be 
colored  with  appropriate  blackboard  crayons  as  in 


64      Handwork  in  Religious  Education 

any  blackboard  picture.  Stencils  are  very  satis- 
factory for  blackboard  borders,  as  represented  in 
Figs.  12  and  13.  Good  stencils  are  to  be  had  for 
special  days,  particularly  national  holidays. 

Closely  allied  to  stenciHng  as  described  above 
is  the  more  complex  stenciling  for  the  older  children, 
coming  into  the  realm  of  stenciHng  for  book  covers, 
for  draperies  for  the  Sunday-school  windows,  for 
bookcases,  etc.,  and  for  art  decorations  on  velvets, 
silks,  etc.  The  most  modem  method  of  stenciling 
is  by  the  use  of  a  blow-pipe  or  atomizer,  by  which 
means  liquid  dyes  are  used  with  especially  pre- 
pared stencils.  Opaque  colors,  especially  good  for 
posters  and  decorative  and  realistic  work,  can  be 
procured  from  the  Waldcraft  Company,  Indian- 
apoHs,  Indiana. 

§  4.    picture-tearing 

The  same  designs  that  are  used  for  paper- 
cutting  may  be  used  for  paper-tearing.  More  care 
must  be  given  to  the  kind  of  paper  used  than  in  the 
case  of  the  cutting  work.  It  should  be  paper  that 
tears  as  readily  crosswise  as  lengthwise.  Avoid 
also  the  use  of  tough  paper.  Colored  papers  can 
be  procured  from  the  Milton  Bradley  Company, 
Springfield,  Massachusetts,  or  from  any  house 
carrying  kindergarten  materials.  These  papers 
come  in  lots  of  100  and  250,  6X9  and  12X9  inches. 
Samples   of  the  colors  carried  can  be  procured. 


Suggestions  for  Expression  Work      65 


66      Handwork  in  Religious  Education 

Children  should  be  led  to  experiment  first  on  the 
plain  paper.  Picture- tearing  is  somewhat  more 
difficult  for  children  than  the  picture-cutting. 
However,  the  design  may  be  drawn  on  the  paper 
before  the  tearing  is  begun,  thus  making  the  effort 
very  much  easier  for  the  small  child.  As  in  paper- 
cutting,  much  attention  is  to  be  given  to  the  use 


Fig.  13. — Blackboard  stenciling  and  construction  work 

made  of  the  design  when  finished.  It  should  at 
least  be  mounted  on  a  piece  of  cardboard  (see 
Fig.  15)  and  may  well  be  mounted  with  other  tear- 
ings  so  as  to  express  some  definite  idea  or  story, 
such  as  that  of  the  life  of  Abraham  in  Fig.  16. 

§  5.     picture-coloring 

One  of  the  early  delights  of  childhood  is  the 
coloring  of  pictures.     This  may  very  easily  be 


Suggestions  for  Expression  Work       67 


done  with  crayolas  by  very  small  children.     The 
Perry  or  Brown  pictures  in  black  and  white  or 


Fig.  14. — Parquetry  cutting  and  mounting 

sepia  may  be  used  for  this  purpose,  but  the  details 
in  them  are  rather  too  many.     Somewhat  easier, 


68       Handwork  in  Religious  Education 

perhaps,  is  the  coloring  of  paper-cuttings  as  sug- 
gested under  ''Paper-Cuttings."  Special  care 
should  be  taken  to  see  that  suitable  paper  is  used, 
a  somewhat  rough  variety  being  preferable.  The 
crayolas,  which  can  be  obtained  at  almost  any  sta- 
tionery store,  have  oil  in  them,  so  that  the  colors  do 
not  rub  readily.  Binney  &  Smith,  New  York,  put 
up  twelve  assorted  colors  for  educational  color  work, 
No.  99A.     For  the  smallest  children  this  may  be 


Fig.  15. — Paper- tearing:    the  carpenter's  tools,  a  home  fire- 
place. 

preferable.  Far  more  satisfactory  work  can  be 
obtained,  however,  with  colored  crayons,  or  with 
pastellos,  which  can  be  secured  from  the  American 
Crayon  Company,  Sandusky,  Ohio.  These  make 
possible  the  blending  of  colors  in  a  very  pleasing 
way.  Water  colors  may,  of  course,  be  used  to 
advantage  for  the  coloring  of  pictures.  The  best- 
known  colors  are  Prang's  and  De  Voe's,  if  one 
desires  a  cheap  set.  These  come  at  25  cents  and 
include,  with  the  four  primary  colors,  the  paint 


Suggestions  for  Expression  Work      69 

box  and  brush.  Winsor  &  Newton  paints  are  to 
be  especially  recommended  among  the  more 
expensive  ones.  A  smooth  wash  of  the  color 
desired  may  be  made  upon  the  paper  and  then  the 
pattern  cut  out  from  this.  The  same  thing  is 
possible  with  the  crayolas.  All  picture-cutting 
will  be  much  improved  if  appropriately  colored.. 
In  all  mountings  for  paper-cutting  and  paper- 
tearing,  whether  colored  or  not,  special  attention 
should  be  given  to  the  harmonizing  of  colors. 
Much  of  the  aesthetic  pleasure,  as  well  as  edu- 
cational value  of  this  work,  may  be  lost  through 
lack  of  care  in  the  aesthetic  arrangement  and  har- 
monizing of  color-values.  Different  tones  of  the 
same  color  make  aesthetic  combinations. 

§  6.     paper-folding 

Paper  for  folding  can  be  cut  at  any  bindery,  with 
a  photographer's  trimming  machine,  or  with  a  very 
sharp  knife  and  a  square;  it  is  still  better  to  buy 
the  paper  to  be  folded  from  some  house  carrying 
such  materials,  for  example,  the  Milton  Bradley 
Company.  Paper-folding  may  be  done  by  very 
small  children  if  the  folding  is  not  intricate  or 
involved.  Very  simple  paper-foldings  for  the  con- 
struction of  boxes,  pen  trays,  picture  frames,  etc., 
may  be  planned.  The  children  may  make  some 
of  these  articles  as  gifts  for  their  home  people 
and  some  of  it  for  the  use  of  the  Sunday  school  on 


70      Handwork  in  Religious  Education 


Fig.  i6. — Paper- tearings  illustrating  Abraham's  life,  i,  Trav- 
eler to  Canaan.  2,  An  altar  under  the  oak.  3,  Trip  to  Eg>'pt. 
4,  As  the  stars  in  the  sky.  5,  Visit  of  the  three  angels.  6,  The 
cUmb  to  Mount  Moriah.     7,  Abraham's  tent  life. 


Suggestions  for  Expression  Work       71 

special  occasions,  such  as  Christmas  candy-boxes, 
May  Day  baskets,  etc.  This  should  be  done 
first    by    the    children    in    experimentation    with 


Fig.  17. — Paper-foldings  as  picture  frames 

light-weight    paper    and    then    repeated  .in    the 
heavier  cover-paper  for  the  final  article. 

Paper-folding  may  also  be  that  of  beauty  forms, 
including  fancy  frames  for  small  pictures,  as  in 
Fig.  17. 


72      Handwork  in  Religious  Education 

Beside  these  there  is  the  picture-folding  for  illus- 
rative   and  representative  work.     See  Fig.  i8. 

§  7.       STICK  printing  AND  BLOCK  STENCILING 

A  pleasure  that  many  children  have  enjoyed  is 
that^of  printing  with  blocks  and  sticks  dipped  in 
various  colored  inks  or  dyes,  and  used  for  border 
decorations  (see  Fig.  19)  or  combined  into  pictures. 
One  can  construct  these  blocks  and  sticks  out  of 
wood,  though  they  can  best  be  purchased  from 
some  house  carrying  them.  Felt  pads,  saturated 
with  the  ink  or  liquid  dyes,  must  be  used  just  as 
pads  are  used  with  any  stamps,  such  as  an  auto- 
graph or  corporation  or  date  stamp.  Special 
designs  may  be  made  by  individual  pupils  and 
may  represent  a  class  seal,  badge,  etc.,  as  well  as 
being  decorative  for  stationery  used.  The  block- 
printing  materials,  as  well  as  the  stick-printing 
materials,  with  the  dyes  necessary,  can  be  secured 
of  the  Waldcraft  Company,  Indianapolis,  Indiana. 
Full  directions  for  the  use  of  such  materials  can 
be  had  from  them  upon  request. 

§  8.      COPING   SAW   WORK  AND   WHITTLING 

These  methods  of  expression  work  appeal  espe- 
cially to  boys,  though  girls  also  do  very  satis- 
factory work.  The  coping  saw  work  trains  in 
form-study,  construction,  and  invention  and 
requires  careful  work.     The  patterns  illustrated  in 


Suggestions  tor  Expression  Work       73 


Fig.  18. — Illustrative  paper-foldings 


74      Handwork  in  Religious  Education 


♦♦♦♦ 

.:'—*:'--* 

1 

1 

I  , -. 

, . 

*  ' 

fp^ 

^k,:-,    ,. 

vt  ■     ' 

H.   - 

w,.    »-,„.    ,, 

:♦♦♦ 

4 
♦ 

♦♦♦♦ 

♦f  •  ^  *    ►   ••  ♦ 


^-v^fi^-^^ 


9f 


^V.      /^///    -f^./;A,-^/-/.  4     ;/-;.</    /-/   ^-'^     UH       T 


^      IT 


^       *•     4       < 


Fig.  19. — Stick-printing  borders 


Suggestions  for  Expression  Work       75 

Fig.  3  are  excellent  for  this  work  in  wood  as  well  as 
for  paper-cutting.  (''Bradley's  Straight  Line  Pic- 
ture Cut-Outs,"  25  cents  per  set,  are  suggestive 
paper  patterns;  also  the  designs  traced  on  3 -ply 
wood  put  out  by  the  Flemish  Art  Co.,  New  York.) 
The  pattern  is  traced  upon  the  wood,  which  must 
be  soft,  and  a  deHcate  hand  saw  is  used.  The 
figures  may  be  combined  into  groups  for  the 
illustration  of  Bible  scenes  or  mission  scenes. 
The  people  and  animal  forms  necessary  for  a 
reproduction  of  a  situation,  with  all  parts  of  the 
scene  represented,  may  be  made  successfully  with 
the  coping  saw  work  (see  Fig.  20).  For  fuller 
description  see  suggestions  under  ^'Sand  Con- 
struction Work,"  p.  92.  Inasmuch  as  this  coping 
saw  work  is  done  with  very  thin  boards,  these 
figures  are  most  satisfactory  where  flat  effects  are 
desired.  To  more  advanced  boys  the  dehcate 
work  of  mottoes,  such  as  the  scroll  saw  work  of 
twenty-five  years  ago,  will  appeal  much.  The 
ingenious  teacher  will  find  much  that  the  boys  are 
interested  in  doing  that  will  be  representative  as 
well  as  illustrative  of  religious  truths.  For  20 
cents  one  can  procure  a  book  entitled  Coping  Saw 
Work,  by  Ben  W.  Johnson,  from  the  Manual  Arts 
Press,  Peoria,  Illinois.  This  book,  which  is  used 
for  the  public  school,  will  suggest  projects  to  be 
worked  out  in  rehgious  education.  Much  more 
can  be  done  in  this  field  than  in  that  of  paper- 


76      Handwork  in  Religious  Education 


en 

I 

Q4 
O 


Suggestions  for  Expression  Work       77 

cutting  that  will  give  permanent  satisfaction,  inas- 
much as  the  wood  is  stiff  enough  to  arrange  in 
standing  position,  so  that  the  figures  can  be 
grouped  to  make  a  realistic  scene  rather  than 
mounted  on  a  flat  surface,  as  in  paper-cutting. 
The  equipment  for  coping  saw  work  is  inexpensive, 
nothing  being  required  but  the  cheap  saws  which 
can  be  purchased  from  any  hardware  dealer. 
This  work  is  suitable  for  boys  and  girls  of  about  the 
fourth  and  fifth  grades  in  public  school.  The 
best  wood  to  be  used  is  yellow  pine,  bass  wood,  or 
holly.  Using  3-ply  wood  will  prevent  warping. 
Coping  saw  work  may  be  used  advantageously  in 
social  service  activities.  Figures,  furniture,  and 
other  playthings  are  admirable  presents  for  poor  or 
sick  children,  and  for  younger  brothers  and  sisters. 
Whitthng  has  the  advantage  over  coping  saw 
work  that  models  can  be  made  that  require  pro- 
portionate thickness.  Whitthng  lends  itself  suc- 
cessfully to  the  making  of  models  of  utensils, 
articles  of  furniture,  houses,  etc.,  of  Bible  times. 
The  whitthng  partakes  of  the  advantages  that  one 
finds  in  clay  work — the  three  dimensions  can  be 
accurately  represented.  Pictures  to  guide  in  the 
whittling  may  be  obtained  from  Sunday-school 
papers,  journals,  magazines,  etc.  This  is  very 
satisfactory  expression  work  for  the  study  of 
missions,  where  many  of  the  surroundings  of  life 
in  foreign  fields  can  be  reproduced.     The  whitthng 


78      Handwork  in  Religious  Education 

work  is  suitable  to  any  of  the  grades  above  the 
third  or  fourth.  Some  very  fine  work  can  be  done 
by  both  boys  and  girls  in  the  upper  grades.  It 
has  been  found  that  this  form  of  expression  work 
appeals  greatly  to  girls. 

§  9.      BASKETRY 

This  work  is  suitable  for  children  from  the  third 
to  the  eighth  grade  and  has  become  very  popular 
among  young  women,  who  imitate  the  more  com- 
plex and  intricate  work  of  the  Indian  women.  The 
material  used  is  reed  and  raffia,  often  with  sweet 
grass  or  the  long  pine  needles.  The  pupils  may 
be  able  to  get  the  sweet  grasses  from  the  fields  and 
cure  them,  thus  adding  to  the  interest  of  the  work. 
Raffia  can  be  secured  either  in  the  natural  deep 
cream  or  in  the  colored  varieties.  The  colored  is 
three  times  as  expensive,  the  uncolored  costing 
about  20  cents  a  pound.  One  can  easily  color 
raffia  by  the  use  of  dyes,  and  the  baskets  can 
be  dyed  by  the  same  process  after  they  are  made. 
The  reed  may  be  procured  at  a  price  ranging  from 
50  cents  to  about  a  dollar  a  pound  in  different 
sizes  and  is  either  round  or  flat.  The  reed  is  used 
very  largely  as  a»  foundation  for  the  raffia  work. 
However,  designs  made  of  reed  alone  are  very 
effective.  The  raffia  may  be  used  upon  wire  foun- 
dations and  is  somewhat  more  easily  made  into 
complex  and  intricate  designs  that  require  ma- 


Suggestions  for  Expression  Work       79 

nipulations  finer  than  those  to  which  the  reed 
will  lend  itself.  Basketry  as  expression  work 
develops  a  sense  of  form  and  color  and  requires 
a  firmness  and  accuracy  of  touch  that  is  highly 
educational  for  the  pupil.  Raffia  may  be  used 
upon  looms  and  is  especially  suitable  for  making 
rugs.  Basketry  can  be  adapted  to  rehgious  edu- 
cation for  making  concrete  the  Hfe  of  other  times 
and  peoples.  Models  of  furniture  and  of  the 
appurtenances  of  home  and  community  Hfe  are 
readily  constructed.  Raffia  yields  itself  to  the 
representation  of  the  construction  of  houses  of 
countries  where  barks,  grasses,  hay,  etc.,  are  used. 
Figures  21-24  illustrate  well  the  use  of  raffia  in 
the  construction  of  African,  Karen,  and  Indian 
houses.  One  of  the  most  satisfactory  uses  of  all 
such  expression  work  is  to  aid  the  child  in  the 
construction  of  a  house  or  room  representing  the 
ideal  in  the  ordering  and  planning  of  a  home. 
Very  much  of  the  social  betterment  may  be  related 
to  an  improvement  of  housing  conditions.  Reli- 
gious education  has  a  large  place  in  showing  to  the 
children  the  proper  ordering  of  a  room.  Note 
what  is  said  on  p.  91. 

Basketry  lends  itself  very  beautifully  to  the 
cultivation  of  the  social  and  unselfish  relationships 
of  the  children.  They  can  readily  make  baskets 
for  the  exchange  of  May  Day  remembrances  in  the 
Sunday  school,  each  one  giving  a  basket  of  his  own 


8o      Handwork  in  Religious  Education 

make  to  be  passed  on  to  some  other  child.  At 
Christmas  time  the  little  baskets,  perhaps  with 
home-made  candy  in  them,  the  candy-making 
being  undertaken  by  the  teacher  and  some  of  her 


Fig.  21. — Construction  work:  i,  Chinese  pagoda.  2,  Korean 
church.     3,  Indian  church.    4,  Japanese  house. 

friends,  furnish  suitable  gifts  for  the  home  people. 
See  suggestions  in  Fig.  25. 

The  book  Occupations  for  Little  Fingers  by  Sage 
and  Cooley  (Scribner)  is  very  good  for  suggestions 
on  many  kinds  of  handwork,  such  as  rafha  work, 


Suggestions  for  Expression  Work       8i 

weaving,   paper-cutting  and  -folding,   clay  work, 
bead  work,  and  special  work  for  boys. 


Fig.  22. — Construction  work:  i,  King  IMtesa's  royal  grounds 
with  palm  trees.  2,  House  in  which  Livingstone  died. 
3,  Japanese  house. 


Fig.  23. — Construction   work:    i,  Karen   house.      2,  Indian 
house.     3,  Korean  church. 


§  10.   TRAYS  AND  FANCY  BOXES 

Trays  can  be  made  by  the  more  advanced  pupils 
for  the  use  of  the  materials — pencils,  crayons,  etc. 


82      Handwork  in  Religious  Education 


T3     o 


.j5      <D 


I -I 


Suggestions  tor  Expression  Work       83 

— for  the  younger  children  in  their  expression  work. 
Some  of  the  trays  and  boxes  the  smallest  children, 


Fig.  25. — Basketry 

even  primary  pupils,  can  make.  The  boxes  may 
be  utilized  for  Christmas  candy-boxes.  Patterns 
for  these  are  best  taken  from  boxes  obtained  from 


84      Handwork  in  Religious  Education 

stores  (see  Fig.  40,  Nos.  6  and  7).  Many  of  the 
brick-butter  boxes  afford  good  patterns  for  fancy 
candy-boxes.  The  more  advanced  pupils  might 
spend  an  afternoon  advantageously  in  making 
these  boxes  for  the  smaller  pupils  for  Christmas, 
thus  developing  the  service  idea. 

§  II.   CLAY-MODELING 

Clay-modeHng  is  one  of  the  cleanest  and  most 
satisfactory  methods  of  expression  work  for  small 
children  and  may  easily  be  made  complex  enough 
to  hold  the  interest  of  older  children.  Bible 
stories  are  well  illustrated  by  clay  work,  as  well  as 
objects  that  represent  Hfe  of  other  times.  The 
advantage  of  clay-modeHng  is  that  suggested  under 
whitthng,  that  it  makes  possible  articles  of  three 
dimensions  in  the  right  proportions.  Miniature 
houses,  household  utensils,  fruits,  animals,  flowers, 
and  people  may  be  modeled  very  effectively. 
Some  of  these  uses  are  well  illustrated  in  Fig.  26. 
A  very  great  advantage  in  both  the  wood  and  clay 
is  that  they  can  be  colored  and  so  represent  accu- 
rately the  objects  after  which  they  are  modeled. 
Water  colors  should  be  used  for  the  coloring  of 
clay  work.  Very  dehcate  clay-modeling  that  can 
be  done  by  older  children  not  only  becomes  a  train- 
ing in  the  best  aesthetic  values,  but  becomes  a 
medium  of  the  best  expression  of  the  pupils'  ability 
and  taste.     Clay  may  be  used  for  any  statuary 


Suggestions  for  Expression  Work      85 


86      Handwork  in  Religious  Education 

work  that  would  seek  to  suggest  the  great  rehgious 
marble  productions  of  the  past.  The  primary 
teachers,  as  well  as  the  teachers  of  the  juniors  and 
adults,  have  not  exhausted  the  possibilities  of 
clay-modeHng  as  a  means  of  developing  the  sense 
of  proportion  and  the  love  of  harmony  and  beauty 
of  design.  A  very  good  book  for  the  teacher  is 
entitled  Clay  Work,  by  Katherine  M.  Lester,  price 
$1 .  oo.  It  has  twenty- three  plates  and  thirty-four 
illustrations.  It  covers  the  whole  range  of  clay 
work  for  the  elementary  school  and  deals  with 
elementary  pottery.  It  can  be  procured  at  the 
above  price,  postpaid,  from  the  Manual  Arts  Press, 
Peoria,  Ilhnios.  The  plasticine,  mentioned  under 
''Construction  Work"  and  ''Map-ModeHng,"  is 
a  common  substitute  for  clay,  though  much  more 
expensive. 

§  12.    construction  work 

The  question  of  modeHng  in  rafha  and  reed,  in 
clay,  and  in  wood  has  already  been  discussed. 
Construction  work,  however,  usually  suggests  to 
the  mind  paper  and  cardboard  work.  This  is 
very  cheap  expression  work,  requiring  construc- 
tion paper,  scissors,  and  glue.  Articles  of  furni- 
ture for  the  furnishing  of  a  house  and  numberless 
architectural  forms  grow  naturally  out  of  the  use 
of  heavier  construction  paper  or  cardboard  (note 
Fig.  5).     As  the  pupil  advances  in  this  work  other 


Suggestions  for  Expression  Work       87 

materials  already  spoken  of,  such  as  thin  wood, 
raffia,  and  reed,  take  the  place  of  the  cardboard 
in  the  making  of  miniature  houses,  pubHc  buildings, 
churches,  etc.  Much  care  must  be  exercised  in 
the  proportions  of  the  construction.  Figure  23 
well  illustrates  the  construction  work  designed 
to  represent  homes  of  peoples  in  mission  lands. 
The  first  illustration,  a  Karen  house,  represents 
a  combination  of  raffia  for  the  roof  and  construc- 
tion paper  for  the  main  part  of  the  building.  The 
poles  upon  which  it  stands,  as  well  as  the  ladder, 
are  made  of  small  branches  scraped.  The  second 
is  nothing  other  than  a  pasteboard  box  white- 
washed, with  a  door  with  hinges  attached  cut  out 
of  pasteboard  and  hung  in  place.  The  roof  is 
painted  red  with  water  colors  and  is  merely  a  piece 
of  corrugated  paper!  It  represents  the  native 
house  of  India.  The  third  represents  a  Korean 
church;  the  walls  are  of  construction  or  cover 
paper,  as  it  is  called  by  the  bookbinders,  with 
strips  of  white  pasted  on.  The  roof  is  also  of 
corrugated  paper.  In  this  work  care  must  be 
taken  to  insure  the  lapping  over  of  the  corners  to 
make  the  whole  substantial. 

In  Fig.  21  the  first  construction  represents  a 
Chinese  pagoda.  The  pillars  are  rolled  pieces  of 
the  construction  paper  and  the  roof  is  plaited  con- 
struction paper  of  the  same  kind.  The  second 
design  has  already  been  described  above.     The 


SS      Handwork  in  Religious  Education 

third  piece  of  construction  is  a  representation  of 
the  first  Methodist  chapel  of  India.  The  building 
itself  is  of  construction  paper,  with  narrow  aper- 
tures cut  for  windows.  The  roof  is  of  raffia,  sewed 
through  a  bent  piece  of  the  construction  paper. 
The  raffia  is  also  used  for  the  sewing.  The  third  is 
a  representation  of  a  Japanese  house.  The  build- 
ing is  made  of  construction  paper  cut  with  the 
large  openings  across  which  is  pasted  on  the  inside 
white  tissue  paper.  The  posts  of  the  porch  are 
square  pillars  folded  from  the  construction  paper. 
The  little  sHppers  that  stand  at  the  porch  steps 
are  toe  slippers,  also  made  of  construction  paper. 
The  flower  bed  in  front  of  the  house  is  a  circle  of 
paper  glued  on  to  the  pasteboard  foundation  upon 
which  the  house  is  mounted,  and  the  flowers  are 
patterns  cut  from  manila  6r  white  paper  and 
colored  with  crayolas  or  water  colors. 

In  Fig.  24  the  first  construction  is  that  of  a 
mountaineer's  log  cabin,  with  the  fireplace  and 
flue  at  one  end.  The  whole  is  made  of  construction 
paper  folded.  The  second  construction  represents 
the  palace  of  King  Mtesa,  Uganda,  Africa.  The 
central  house  is  square,  with  a  sloping  roof  of 
raffia.  The  houses  surrounding  this  royal  palace 
are  circular,  with  the  roofs  of  rafiia.  The  main 
part  of  the  house  is  of  cardboard  or  construction 
paper,  around  which  is  wound  rafiia  flattened  out. 
(Soak  it  in  water  for  this  purpose.)     The  fence 


Suggestions  for  Expression  Work       89 

is  made  with  posts  of  the  large  reed;  twigs  from  a 
tree  would  be  as  suitable.  Raffia  is  wound  around 
pieces  of  cardboard  that  make  the  circular  wall 
The  fence  when  completed  is  sewed  with  raffia  to 
the  cardboard  upon  which  it  is  mounted.  The 
third  piece  of  construction  is  a  Japanese  house  and 
is  as  described  in  Fig.  21,  except  that  the  corru- 
gated paper  is  here  used  for  the  roof.  The  fourth 
design  is  a  Palestinian  house  made-  with  the  out- 
side stairs  leading  to  the  upper  room.  There  is 
an  inner  court  open  to  the  sky.  The  construction 
paper  has  been  ruled  with  ink  to  give  the  impres- 
sion of  the  stone  construction  of  Bible  times. 
Around  the  inner  court  there  are  doors  cut  leading 
into  the  rooms  surrounding  this  open  court. 

In  Fig.  22  the  middle  design  represents  the  house 
in  which  Livingstone  died  in  Africa.  It  is  made 
of  the  larger  reed,  which  represents  the  poles  about 
the  house  and  on  the  roof,  and  raffia  is  used  for  the 
construction  of  both  the  walls  and  the  roof.  The 
design  to  the  right  is  of  the  usual  African  house. 
The  corrugated  paper  is  glued  together  to  form  a 
circle  and  a  door  is  cut  for  the  opening.  Over  this, 
on  a  piece  of  construction  paper  or  pasteboard  cut 
so  as  to  fold  into  a  funnel  shape,  is  sewed  raffia, 
as  used  in  the  house  already  described.  Wire 
wrapped  with  raffia,  which  can  be  purchased  very 
cheap,  is  circled  around  the  roof  to  hold  down  the 
raffia  and  encircles  the  walls  midway. 


90      Handwork  in  Religious  Education 

Figure  27  is  a  representation  of  a  kindergarten 
room.  The  furniture  is  cut  from  construction 
paper  and  folded  so  as  to  form  the  object  desired. 
The  walls  are  of  heavy  strawboard,  papered  with 
wall  paper.  The  curtains  are  of  tissue  paper  and 
the  flowers  and  flower  pots  in  the  window  are  painted 
on  the  paper  used  as  glass  for  the  windows.     The 


Fig.  27. — Construction  work:   Kindergarten  room 

kindergarten  tables,  chairs,  bookcase,  and  piano 
make  the  room  complete.  Some  teachers  of  con- 
struction work  are  very  insistent  that  one  should 
not  combine  different  materials — that  nothing  but 
paper  should  be  used.  A  paper  rug  is  on  the 
floor  and  the  furniture  and  decorations  are  all  of 
the  same  material. 


Suggestions  for  Expression  Work       91 

One  of  the  most  helpful  studies  in  expression 
work,  especially  for  a  mission  district,  is  that  of 
construction  of  the  rooms  of  a  household.  The 
proper  appointments  of  a  house  and  its  arrange- 
ments are  thus  brought  into  the  forefront  for  dis- 
cussion and  observation.  Figure  28  represents 
a    sitting-room.     Pictures,    curtains,    magazines, 


Fig.  28. — Construction  work:   Sitting-room 


daily  paper,  clock,  and  furniture  one  by  one  claim 
attention.  Special  care  is  given  to  color  harmonies. 
Blocks  used  in  connection  with  construction 
work  have  proved  very  interesting  and  helpful  to 
children.  The  larger  kindergarten  blocks  that 
are  becoming  popular  for  work  with  children, 
especially  for  playtime  both  in  the  kindergarten 


92      Handwork  in  Religious  Education 

and  on  the  playground,  lend  themselves  very 
well  to  the  construction  of  rooms  that  can  be  built 
on  the  floor  and  furnished  by  pasteboard  and 
raffia  construction  work.  The  tables,  chairs,  etc., 
may  be  of  construction  paper.  The  rugs  may  be 
woven  from  raffia,  and  paper  dolls,  representing 
whatever  country  is  being  illustrated,  may  sit  in 
state  wherever  desired.  Coping  saw  work  could 
be  brought  into  play  here  for  the  making  of  the 
furniture  and  people  necessary  for  such  a  home. 

Some  of  the  most  realistic  and  at  the  same  time 
the  most  satisfactory  construction  is  the  repro- 
duction in  miniature  of  a  historical  situation. 
A  sand  map  or  sand  pile  is  vital  here.  The  follow- 
ing was  easily  wrought  out  and  with  great  satisfac- 
tion to  teacher  and  pupils.  The  story  of  Abraham 
and  of  his  life  in  Hebron  was  the  topic  under  con- 
sideration. The  sand  was  arranged  to  represent 
the  hill  of  Hebron.  Tents  were  made  to  show  the 
Bedouin  type  of  Hfe.  Trees  represented  the  oaks 
where  Abraham  pitched  his  tent.  The  sheep  and 
herdsmen  were  of  wood  construction.  (This  is  the 
opportune  time  for  the  coping  saw  work.)  The 
story  was  told  as  the  process  of  construction  went 
on.  This  attempt  at  landscape  reproduction  in 
construction  work  adds  very  materially  to  the 
child's  appreciation  of  the  reality  of  the  stories  told. 

A  reproduction  on  a  somewhat  larger  scale  was 
made  in  the  sand  by  the  banks  of  a  stream.     The 


Suggestions  for  Expression  Work       93 

stream  flowed  so  as  to  suggest  admirably  the 
Mediterranean  Sea.  Channels  and  lakes  were 
dug  to  represent  the  Sea  of  Galilee,  the  Jordan 
River,  and  the  Dead  Sea.  Then  began  the  erec- 
tion of  cities.  Where  the  place  of  the  city  only 
was  to  be  represented,  a  pile  of  stones  thrown 
together  was  sufficient.  Where  the  stories  to  be 
told  involved  special  buildings  and  special  features 
of  any  city,  those  buildings  were  carefully  con- 
structed, sometimes  with  stones  placed  with  care; 
at  other  places  wooden  boxes  and  boards  were 
utilized. 
Bethel. 

1.  One  large  stone  where  Jacob  had  his  vision. 

2.  Altar  of  stones. 

3.  Oak. 
Jerusalem. 

1.  Hill  of  Zion,  built  of  rocks,  perpendicular. 

2.  Temple. 

3.  Mount  of  Olives. 

4.  House  of  the  Last  Supper. 

5.  Calvary. 
Hebron. 

1 .  Abraham's  tents. 

2.  Oaks  of  Mamre. 

3.  Altar. 

4.  Cave  of  Machpelah. 
Bethlehem. 

1.  Grave  of  Rachel. 

2.  Wheat  fields  of  Boaz. 

3.  Well  of  Bethlehem. 

4.  Inn  and  stable. 


94      Handwork  in  Religious  Education 

Capernaum. 

1.  Peter's  home. 

2.  Home  of  nobleman. 

3.  Levi's  place  of  toll. 

4.  Synagogue. 

Between  the  cities  on  the  great  highways  of 
Palestine  pathways  were  made  leading  around  the 
hills  and  through  the  valleys.  The  smaller  children 
of  the  group  could  gather  the  Httle  stones  with 
which  to  construct  the  roads.  The  older  boys, 
at  their  own  suggestion,  built  a  raft  on  which,  as 
they  said,  to  bring  down  the  timbers  from  Hiram 
of  Tyre  to  build  the  temple  at  Jerusalem.  The 
entire  structure  covered  a  space  about  sixty  feet 
in  length  and  a  third  of  that  in  width.  As  each 
city  was  constructed,  the  story  was  told  of  the 
great  events  that  had  taken  place  in  that  city.  As 
a  road  was  made,  the  scenes  on  that  road  were 
described.  It  was  surprising  how  well  the  children, 
even  those  who  had  had  no  Bible  training,  could 
reproduce  the  stories  of  Palestine  at  the  close  of 
five  or  six  days'  work,  covering  a  couple  of  hours 
a  day.  So  real  did  it  become  to  the  children  that 
one  lad  of  about  ten  who  had  been  unacquainted 
with  Bible  stories  insisted  on  opening  the  grave 
of  Rachel  to  see  whether  or  not  she  was  buried 
there.  The  following  also  have  been  given  with 
good  results,  the  scenes  being  created  as  the  story 
was  told: 


Suggestions  for  Expression  Work      95 

Representation  of  Life  of  Abraham 

I.  First  scene. 
I.  Construction: 

Two  mountains — Ebal  and  Gerizim. 
Abram's  tent  (and  many  smaller  tents). 
Under  an  oak  tree  (Moreh)  an  altar. 
2.  Story: 

Terah's  family,  Abram's  journey  to  Shechem, 
and  God's  promise  (Gen.  12:7). 

II.  Second  scene. 

1.  Construction: 

Hills  down  to  Bethel. 
Abram's  tent  and  an  altar. 

2.  Story; 

Removal  to  Bethel. 

Trip  to  Egypt — famine  and  gaining  of  wealth. 

Return  to  Bethel  and  his  worship  there. 

III.  Third  scene. 

1.  Construction: 

Lot's  tents  in  the  plain. 

Abram's  tents  near  the  oaks  of  iMamre  and  the 
altar. 

2.  Story: 

Separation  of  Lot  and  Abram. 

Battle  of  the  Plains,  including  story  of  Melchi- 

zedek. 
Abram's  dream  (Gen.,  chap.  15). 

IV.  Fourth  scene. 
I.  Construction: 

Mount  Moriah  and  an  altar. 
Beersheba  and  a  well. 


96      Handwork  in  Religious  Education 

2.  Story: 

God's  promise  of  an  heir;  the  birth  of  Isaac; 
removal  to  Beersheba;  story  of  Abimelech 
and  the  well;  the  sacrifice  on  Moriah;  the 
return  to  Beersheba. 

V.  Fifth  scene. 

1.  Construction: 

Burial  ground — cave,  trees,  at  Hebron. 

2.  Story: 

Buying  of  the  field;  death  of  Sarah  and  burial. 

Rebekah's  coming  to  Hebron. 

Isaac's  possessing  all. 

Death  and  burial  of  Abraham. 

Instructions:  Tents  made  of  cloth;  trees,  of  branches 
of  trees;  if  leaves  are  desired,  make  them  of  green  tissue 
paper;  altars  made  of  stones;  well  dug  and  lined  with 
small  stones;  animals  carved  out  of  wood  or  made  from 
clay. 

Representation  of  Life  of  Jesus 

nazareth  in  the  life  of  jesus 

I.  First  scene. 

1.  Construction: 

Hill  with  city  on  it. 

Special  house  for  that  of  Joseph. 

Cradle  or  bed  for  Jesus. 

2.  Story: 

Birth  of  Jesus  in  Bethlehem. 

Trip  to  Egypt. 

Return  of  the  family  to  Nazareth. 

II.  Second  scene. 

I.  Construction: 

Carpenter-shop  with  tools. 


Suggestions  for  Expression  Work      97 

2.  Story: 

Jesus'  childhood  and  trip  to  Jerusalem  at  twelve 

years. 

III.  Third  scene. 

1.  Construction: 

Synagogue. 

2.  Story: 

His  baptism  and  temptation;  his  journey  through 
Samaria;  his  sermon  in  the  synagogue.  (Have 
Jesus'  quotation  from  Isaiah  memorized.) 

Instructions:  Oriental  house  with  inner  court;  houses — 
square  blocks  of  wood;  cradle  of  clay  or  wood;  shop  of 
cardboard  with  tools  of  cardboard;  synagogue  with  seats, 
cupboard  and  roll. 


Representation  of  Life  of  Jesus 
jesus'  passion  week — death,  burial,  and  resurrection 

I.  First  scene. 

1.  Construction: 

Jerusalem  on  the  hills. 

Bethany  and  the  home  of  Lazarus. 

Table,  box  of  ointment. 

2.  Story: 

Preliminaries  of   the  week;    the  anointing   by 
Mary. 

II.  Second  scene. 
I.  Construction: 

Mount  of  OKves  with  its  trees. 

Bethphage. 

Temple. 


98      Handwork  in  Religious  Education 

2.  Story: 

Triumphal  entry;  story  of  the  fig  tree;  five 
days  of  teaching  in  the  temple;  lament  over 
the  sins  of  Jerusalem. 

III.  Third  scene. 

1.  Construction: 

House  with  the  upper  room. 
Trees  of  garden  of  Gethsemane. 
Tower  of  Antonia. 
High  priest's  house. 
Herod's  house. 

2.  Story: 

Meeting  in  upper  room;  prayer  in  Gethsemane; 
arrest  and  trials. 

IV.  Fourth  scene. 

I.  Construction: 

Calvary  hill*. 

Thr^e  crosses. 

Grave  in  hillside. 
2.  Story: 

Procession  to  Calvary;  crucifixion;  death  and 
burial. 

V.  Fifth  scene. 

1.  Construction: 

Open  grave. 
Emmaus. 

2.  Story: 

Resurrection  story;  stories  of  appearances. 

Instruct  mis:    Table  of  wood  or  cardboard;    temple  of 
clay;  houses  of  wood,  blocks,  or  cardboard;  crosses  of  wood. 

In  connection  with  landscape  construction  the 
work  done  in  plasticine  should  be  suggested.     Plas- 


Suggestions  for  Expression  Work       99 

ticine  can  be  purchased  by  the  pound  at  a  very 
small  price  and  can  be  worked  over  and  over  again, 
inasmuch  as  it  does  not  harden.  The  plasticine 
model  of  the  temple  presents  a  very  common  task 
in  expression  work. 

§  13.      MAP -MODELING 

Map-modeling,  of  course,  presupposes  map- 
drawing,  at  least  in  outHne.  It  should  also  pre- 
suppose a  study  of  relief  maps,  showing  the  physical 
features  of  the  land  under  consideration.  The 
sand  table  or  tray  is  made  of  boards  and  is  often 
Hned  with  zinc  or  tin,  though  this  lining  is  not 
essential  if  the  tray  is  made  water-tight  by 
having  pitch  put  in  the  cracks  and  the  whole 
painted  over  well.  Much  depends  also  upon 
whether  or  not  one  desires  to  have  the  sand  very 
damp.  For  most  purposes  a  sand-tight  tray  will 
be  sufhcient.  A  common  box  filled  with  sand  may 
prove  entirely  satisfactory,  especially  for  small 
sand  maps,  while  the  ordinary  tray  or  the  baker 
sheet,  that  can  be  purchased  at  a  tin  shop,  will  do 
admirably  for  individual  use.  Wooden  map  trays, 
hght  and  substantial,  can  be  purchased  for  30 
cents  each  of  the  Bible  PubHshing  Company, 
Boston,  Massachusetts.  The  map  should  be 
planned  with  especial  regard  for  proportions.  It 
is  taken  for  granted  that  the  map  of  Palestine  will 
be  the  first  made  for  Sunday-school  work.     The 


loo    Handwork  in  Religious  Education 

main  guide  in  making  the  map  is  to  keep  the  dis- 
tances proportionate.  These  can  be  determined 
from  any  outline  map  of  Palestine.  Every  Sunday 
school  should  have  a  politico-reHef  map  of  Palestine 
as  guide.  Such  a  one  can  be  obtained  at  the  price 
of  $12.00,  entitled  ''Burton's  Map  of  New  Testa- 
ment Palestine."  This  is  made  of  papier  mache 
in  a  wood  frame;  its  size  is  3X4  feet.  If  one  has 
only  an  atlas  of  Bible  lands,  one  can  succeed  fairly 
well.  The  sand  is  of  course  dampened  to  make 
it  "pack"  well.  The  bottom  of  the  sand  tray 
may  be  painted  blue  and  thus  represent  the 
Mediterranean  Sea  and  the  lakes.  Perhaps  better 
still,  inasmuch  as  it  makes  possible  the  relative 
elevations  of  the  seas  and  the  Jordan  River,  pieces 
of  old  looking-glass  may  be  used  for  the  sea  de- 
pressions. Blue  yarn  strung  along  in  the  depres- 
sions made  for  the  rivers  will  indicate  sufhciently 
the  water  courses.  Note  particularly  the  relative 
elevations  of  the  various  mountains.  Keep  care- 
fully in  mind  the  plains  and  ranges  considered 
relatively.  One  of  the  very  best  books  for  a  full 
understanding  of  the  physical  features  of  Palestine 
is  that  entitled  The  Holy  Land  in  Geography y  by 
MacCoun.  It  is  pubHshed  by  Fleming  H.  Revell 
Company,  New  York.  Sand  maps  may  be  made 
of  some  section  to  illustrate  some  special  epoch  in 
history.  One  of  the  most  satisfactory  of  sand  maps 
is  that  of  Jerusalem  and  its  environs.     The  story 


Suggestions  for  Expression  Work     ioi 

of  Passion  Week,  with  its  changing  events,  can 
best  be  understood  and  remembered  when  traced 
upon  a  sand  map  made  in  such  a  way  that  all  the 
places  in  which  the  events  occurred  are  repre- 
sented. The  story  of  a  nation — ^Judah  or  Israel — • 
can  be  most  easily  recalled  after  the  events  of  its 
history  have  been  followed  by  means  of  a  sand 
map.  If  the  map  is  large  enough,  stones  may  stand 
for  cities;  trees  may  be  constructed,  as  already 
indicated,  to  mark  the  groves  and  sacred  places. 
Even  miniature  houses  have  been  made  to  mark 
important  places,  such  as  that  of  the  altar  at 
Bethel,  the  inn  and  stable  in  Bethlehem,  the  temple 
at  Jerusalem,  the  palace  in  Jezreel,  Peter's  house 
in  Capernaum,  the  carpenter's  shop  in  Nazareth, 
etc.  Clay  houses  and  buildings  will  be  most  true 
to  the  conditions  of  Bible  times.  The  story  of 
some  campaign  of  the  army  or  some  Hfe-story  of 
the  individual  may  be  told,  a  Httle  paper  flag 
upon  a  toothpick  stuck  in  the  sand,  indicating  the 
progress  from  place  to  place.  As  the  story  pro- 
gresses and  the  flag  moves  along,  a  white  cord 
marks  the  path  over  which  the  story  has  traveled. 
This  makes  a  review  very  successful  and  sustains 
interest  in  it  until  it  is  well  learned  by  the  class. 
Different  colored  yarns  may  represent  the  political 
divisions  either  of  tribes  or  of  nations. 

Clay  maps  are  similar  to  the  sand  maps,  but 
of  course  on  a  smaller  scale.     Plasticine  is  perhaps 


I02     Handwork  in  Religious  Education 

more  satisfactory,  as  it  does  not  harden  while 
being  worked  with.  It  is  clean  and  antiseptic  and 
always  ready  for  use.  It  can  be  purchased  in  five 
colors — gray,  red,  blue,  yellow,  and  green.  If  one 
lives  near  a  brickyard  or  pottery  or  even  an  ordi- 
nary clay  bed,  it  might  be  advantageous  to  use 
the  common  clay.  Its  use  has  not  been  in  general 
as  satisfactory  as  that  of  other  material.  Com- 
mercially prepared  clay  can  be  easily  colored  to 
show  the  pohtical  divisions  and  relative  elevations. 
Papier-mache  maps  or  paper-pulp  maps  are 
perhaps  the  cheapest  and  most  satisfactory.  The 
paper  pulp  may  be  purchased  from  paper  factories 
or  may  be  made  out  of  old  newspapers.  Blotters 
are  the  most  easily  reduced  to  pulp,  but  are  more 
expensive.  Take  the  poorest  kind  of  newspapers, 
avoiding  paper  with  a  glazed  surface.  Tear  this 
into  very  small  pieces.  Soak  it  in  boiling  hot 
water  for  twelve  or  eighteen  hours.  Work  with 
the  hands,  seeking  to  reduce  it  to  pulp  again. 
Boiling  over  a  slow  fire  will  help  to  reduce  the  paper 
to  pulp.  Stirring  and  pounding  the  pieces  with 
a  stick  may  take  the  place  of  the  use  of  the  hands, 
though  it  is  not  as  rapid  in  its  results.  When  the 
paper  is  reduced  to  pulp  so  that  it  can  be  molded 
into  form  easily,  pour  off  the  water  or  strain 
through  a  porous  cloth.  Paste  to  which  has  been 
added  powdered  alum  in  the  proportion  of  a 
teaspoonful  to  about  a  pint  of  paste,  stirred  into 


Suggestions  for  Expression  Work     103 

the  pulp,  will  add  much  to  its  cohesive  qualities, 
but  is  not  necessary. 

Let  the  molding  of  the  map  be  upon  a  piece  of 
glass  a  little  larger  than  the  map  you  wish  to  mold. 
Some  advise  pasting  the  map  of  Palestine  of  the  size 
desired  on  the  under  side  of  the  glass.  This  will 
mean  practically  nothing  but  the  advantage  of 
having  the  general  outHne,  however,  as  the  map  will 
soon  be  hidden.  Use  a  reHef  map  of  Palestine,  if 
possible,  as  a  guide.  Put  the  pulp  on  rather  wet, 
drying  it,  if  need  be,  with  a  sponge  while  molding. 
The  outHne  of  the  Mediterranean  Sea,  the  Sea  of 
GaHlee,  and  the  Dead  Sea  in  right  relative  positions 
should  be  the  first  step.  Then  fill  in  the  land 
between,  shaping  the  elevations  carefully.  Be  sure 
to  pinch  the  pulp  dry  enough  so  that  it  will  hold 
its  form  as  you  put  it  on.  When  completed,  set  it 
to  one  side  to  dry.  This  will  require  several  hours. 
Drying  it  too  quickly  by  artificial  heat  will  mean 
that  it  will  crack.  When  it  is  dry,  remove  it  by 
passing  a  knife  undef  it. 

The  marking  of  the  places  with  the  geographical 
names  pasted  on  remains  to  be  done.  One  may 
then  color  the  poHtical  divisions  or  the  relative 
elevations  with  dyes  or  water  colors,  the  latter 
being  preferable.  Colored  crayons  may  be  used, 
though  the  best  work  is  done  with  the  Hquid  dyes 
or  the  water  colors.  Take  special  care  that  the 
color-harmonies   shall  be  aesthetic.      Mount   on 


I04    Handwork  in  Religious  Education 

pasteboard,  using  glue.  Wood  pulp  is  quite  as 
satisfactory  as  paper  pulp  and  can  be  purchased 
ready  for  use.  The  maps  of  Paul's  travels,  of  the 
lands  of  the  captivities,  and  of  mission  fields 
present  a  wide  scope  for  this  fascinating  work. 
See  Fig.  24  for  maps  of  (i)  Africa,  showing  Liv- 
ingstone's travels,  (2)  Palestine,  (3)  Jerusalem, 
(4)  India,  showing  mission  stations. 

Careful  map-drawing  may  fittingly  accompany 
efficient  map-modeling. 

§  14.      ART  WORK 

Art  work  begins  with  very  small  children  as 
a  free  expression  of  their  own  thought.  It  will 
usually  require  labeling  to  indicate  what  is  repre- 
sented. Later  a  definite  aim,  if  only  it  be  not 
too  remote,  requiring  too  long  a  time,  can  be  set 
by  the  teacher.  One  of  the  earhest  systematic  art 
studies  that  can  be  made  is  that  of  border  designs 
— what  is  known  as  rhythmic  borders.  These  are 
conventional  designs  that  are  made  by  rhythmic 
strokes  as  the  teacher  counts.  The  pupils  who  are 
trained  in  public-school  drawing  will  do  very  sat- 
isfactory work  in  simple  crayolas  and  simple  water 
colors.  The  discussion  of  the  coloring  of  pictures 
of  the  paper-cuttings  and  the  backgrounds  for 
paper-mountings  may  be  noted  under  *' Paper- 
Cutting."  Children  in  the  grades  will  soon  appre- 
ciate the  necessity  of  letting  the  trees,  houses. 


Suggestions  for  Expression  Work     105 


Fig.  29. — Blackboard  drawing  with  Easter  decorations 


io6    Handwork  in  Religious  Education 


Fig.  30. — Blackboard  reproduction 


Suggestions  for  Expression  Work     107 


people,  etc.,  be  oriental  rather  than  American. 
However,  it  may  seem  advisable  to  encourage  the 
expression  of  Bible  ideals  and  conceptions  in 
modern  dress.  If  so,  these  representations  should 
be  American  rather  than  foreign.     More  elaborate 


Fig.  31. — Blackboard  drawing 

art  designs  for  borders  for  the  written  work  may  be 
introduced  rather  gradually  and  with  good  results. 
The  child  who  cannot  create  a  picture  or  copy  one 
satisfactorily  may  be  able  to  make  a  piece  of 
written  work  artistic  by  the  border  designs. 
Fancy  borders  may  be  cut  out  of  magazines  and 
pasted   in   place.     Note   also   here   what  is   said 


io8     Handwork  in  Religious  Education 

above  of  stick  and  block  printing  (see  Fig.  19). 
Older  pupils  will  take  great  delight  in  pen-and-ink 
work  for  borders  (see  Fig.  39)  as  well  as  for 
pictures  (note  Figs.  37  and  45).  Artistic  initial 
letters  have  a  very  large  place  here.  Note  further 
discussion  under  "Blackboard  Work"  following. 
One  of  the  largest  fields  of  artistic  endeavor  in 
religious  education  is  that  of  blackboard  work. 
Here  will  be  ample  place  for  the  fancy  initial  letter 
as  illustrated  in  Figs.  21  and  S3'  Blackboard 
printing  commands  a  prominent  place  in  all  black- 
board work.  Any  book  on  fancy  lettering  will  be 
of  much  aid.  One  of  the  best  known  and  most 
generally  used  is  The  New  Zanerian  Alphabets,  by 
C.  P.  Zaner,  published  by  Zaner  &  Bloser  Com- 
pany, Columbus,  Ohio.  A  very  pleasing  variation 
in  lettering  is  the  vine  decorations  twined  across 
and  through  the  letters,  with  dots  to  represent 
flowers  given  in  colors.  The  careful  shading  of  the 
letters  will  mean  very  much  in  printing.  For  the 
broad  letters  a  piece  of  chalk  is  broken  the  width 
of  the  letters  to  be  printed,  the  side  of  the  chalk 
being  used.  The  mottoes  may  be  changed  often 
in  order  to  bring  before  the  pupils  the  best  ideals 
of  life.  Quotations  are  of  course  always  appro- 
priate. Blackboard  work  may  be  that  of  stencils, 
as  already  described  under  "StenciKng"  and  illus- 
trated in  Figs.  12  and  13,  and  by  the  Easter  Lily 
spray,  Figs.  29,  31,  and  34.     Freehand  chalk  work 


Suggestions  for  Expression  Work     109 


Fig.  32. — Blackboard  work 


Fig.  33. — Blackboard  work 


Fig.  34. — Blackboard  reproduction  and  motto 


no    Handwork  in  Religious  Education 

is  very  much  more  satisfactory,  as  it  has  not  the 
stiffness  apparent  in  stencil  work. 

There  are  two  methods  of  making  the  black- 
board picture.  In  one  the  objects  in  the  picture 
may  be  put  on  with  the  white  chalk,  such  as 
Fig.  29.  The  other  method  is  to  let  the  objects  be 
sketched  by  the  rubbing  off  of  the  chalk  that  has 
been  placed  upon  the  board.  Some  pictures  may 
combine  the  two  methods  (Figs.  30  and  31).  To 
produce  the  darkest  parts  of  the  picture  the  chalk 
may  be  removed  with  a  damp  cloth  or  the  dark 
parts  may  be  sketched  with  charcoal.  Put  the 
chalk  on  the  board  by  placing  a  stick  of  chalk 
flat  upon  the  blackboard  surface,  passing  it  over 
the  board  with  a  heavy  or  light  stroke,  according 
to  the  amount  desired.  Rub  the  chalk  thus  placed 
upon  the  board  with  the  palm  of  the  hand  until 
it  is  distributed  as  desired.  For  the  Hghtest  tones 
of  the  picture  rub  on  additional  chalk.  Draw  in 
the  objects  with  the  crayon  as  desired  or  erase 
the  chalk  with  a  cloth  from  the  objects  to  be  made 
black.  Great  care  must  be  taken  to  preserve  the 
proper  perspective  of  the  picture.  For  a  cheap 
book  on  blackboard  work  the  one  entitled  Black- 
hoard  Sketching,  by  Frederick  Whitney  (Milton 
Bradley  Company,  Springfield,  Massachusetts, 
price  60  cents),  is  one  of  the  best,  although  the 
pictures  are  glaring  rather  than  subdued.  The 
strokes  to  be  used  are  carefully  described  in  this 


Suggestions  for  Expression  Work     hi 

book.  Blackboard  work  may  be  a  reproduction 
of  some  noted  picture,  such  as  Fig.  34,  or  may  be 
simply  a  representative  scene,  as  shown  in  Fig.  30 
or  Fig.  31.  The  laws  of  perspective  and  the  rela- 
tive tones  to  be  desired  should  be  kept  constantly 
in  mind. 

The  beginner  in  art  work  on  paper  can  well 
limit  herself  at  first  to  black-and-white  crayon 
pictures.  A  few  lessons  from  some  teacher  are 
desirable,  or  the  procuring  of  a  good  book  on 
crayon  and  charcoal  work.  The  pictures  presented 
in  Figs.  35  and  36  were  the  result  of  five  lessons 
in  a  class  in  which  the  pupils,  young  women,  had 
not  had  any  preliminary  preparation,  even  in  high- 
school  drawing.  They  were  copy-work,  but  were 
excellent  studies  in  perspectives  and  illumina- 
tion. In  water  colors  the  easy  beginning  is  that 
of  one-color  pictures  expressed  in  different  tones, 
from  the  deeper  shades  to  the  Hghter  tints.  This 
work  is  well  illustrated  by  the  Japanese  scenes 
in  Fig.  37.  The  next  step  may  well  be  that 
of  three-color  pictures.  The  simple  crayon  pic- 
tures, such  as  Figs.  35  and  36,  may  well  be  used 
for  decorative  purposes  in  the  Sunday-school 
room.  The  simple  water-color  pictures,  such  as 
those  illustrated  in  Fig.  37,  may  be  used  for 
decorative  and  representative  work  in  the  books 
prepared  by  the  more  advanced  pupils  and  young 
people. 


112     Handwork  in  Religious  Education 


[^Bj^^a^^B^fjf 

Fig.  35. — Crayon  and  charcoal  work 


Suggestions  for  Expression  Work     113 


Fig.  36. — Crayon  and  charcoal  work 


114    Handwork  in  Religious  Education 

§  15.  written  w^ork 
The  most  primary  work  here  is  that  of  the  copied 
verse  of  the  Bible  placed  in  a  blank  book.  Beside 
it  may  be  mounted  the  Httle  half-penny  Perry  or 
Brown  pictures  illustrative  of  that  Bible  scene. 
Before  the  child  can  copy  the  verse  he  might  cut  it 
out  if  shown  by  what  lines  to  be  guided.  This  may 
be  pasted  in  a  bl^nk  book  or  upon  a  blank  piece  of 
paper,  to  be  sewed  into  a  book  later.  A  Httle 
more  advanced  work  is  that  of  the  verse  cut  out 
from  the  Bible  in  answer  to  some  question  that  is 
copied,  the  verse  answering  it  being  pasted  in 
immediately  following  the  question.  Children 
who  can  write  at  their  own  initiative  may  fill  in 
the  important  words  left  out  in  a  Bible  story. 
More  advanced  pupils  may  collect  together  the 
stories  of  one  locality,  rewriting  them  in  their  own 
words,  such  as  the  stories  of  happenings  in  Jericho, 
in  Hebron,  in  Bethlehem,  in  Capernaum,  etc. 
This  work  perhaps  should  come  after  the  child 
begins  to  acquire  a  sense  of  geography,  at  ten  or 
eleven  years  of  age.  Pages  upon  which  the  map  of 
Palestine,  or  of  whatever  country  is  involved,  has 
been  drawn  should  be  inserted  in  such  stories. 
Pupils  may  be  induced  to  print  their  productions 
rather  than  to  write  them  in  long  hand.  If  so, 
fancy  initial  letters  cut  from  postcards,  or  pur- 
chased and  colored,  or  drawn  and  colored,  will  add 
very  much  to  their  attractiveness.     For  10  cents 


Suggestions  for  Expression  Work     115 


1 


to 

6 

ii4 


ii6    Handwork  in  Religious  Education 

a  set  of  four  sheets  of  decorative  borders  and  initial 
letters  may  be  obtained  from  the  New  York  Sunday 
School  Commission,  73  Fifth  Avenue,  New  York. 
These,  however,  are  more  suggestive  than  artistic. 
The  present-day  postcards  may  be  admirably 
utilized  for  fancy  lettering  and  for  simple  picture 
illustrations  for  written  work.  Older  pupils  will 
be  fascinated  with  the  cutting  out  of  Bible  accounts 
of  some  Bible  character,  illustrating  his  Hfe  with 
the  black-and-white  half-penny  pictures  of  Perry, 
Brown,  or  Wilde. 

If  one  desires  colored  pictures  and  more  reahstic 
ones,  they  can  be  purchased  from  the  Tissot  Pic- 
ture Society,  37  Montgomery  Street,  Jersey  City, 
New  Jersey.  These  come  in  an  Old  Testament 
set  of  120  pictures  at  one  cent  each,  and  a  New 
Testament  set  of  120  pictures  at  the  same  price. 
They  are  about  4X5  inches. 

Very  interesting  work  is  that  of  the  writing  of 
the  life  of  some  rehgious  artist  with  illustrations 
of  his  masterpieces  mounted,  and  with  suitable 
border  designs.  Harmonies  may  be  prepared, 
decorated,  and  illustrated — ^harmonies  of  the  his- 
torical books,  of  the  historical  books  and  the 
prophetical  books,  of  the  Gospels,  of  the  Acts  and 
the  Epistles.  In  all  this  work  there  is  ample 
opportunity  for  map-drawing.  An  individually 
constructed  history  of  any  period  of  bibhcal  nar- 


Suggestions  for  Expression  Work     117 

ratives,    artistically    decorated    or   illustrated,    if 
possible,  would  be  a  credit  to  any  adult. 

The  written  work  of  adolescence  may  take  the 
form  of  hymn  illustration  or  of  the  illustration  of 
the  psalms,  especially  if  the  pupil  is  poetically 
inclined.  To  meet  the  social-service  interest  the 
adolescent  pupil  may  be  led  to  prepare  a  paper 
upon  some  field  of  social  interest  or  some  line  of 
social- service  work  and  illustrate  it.  The  most 
advanced  work  perhaps  should  be  that  of  historical 
notebooks.  As  the  young  people  of  this  age  are 
scientifically  studying  the  Bible  as  historical  and 
literary  material,  they  would  be  interested  in  pre- 
paring a  careful  docum.ent  that  might  be  worthy 
of  the  name  thesis.  This  could  be  made  artistic 
by  borders,  illustrations,  charts,  maps.  Greatest 
care  should  be  exercised  in  planning  the  written 
work  according  to  the  age  of  the  pupil.  Note  the 
classification  suggested  on  pp.  47-48. 


CHAPTER  IX 

PERMANENT  FORM  FOR  THE  HANDWORK 

§  I.      ENVELOPES   AND   PORTFOLIOS 

One  of  the  most  important  items  in  relation  to 
handwork  is  its  arrangement  in  proper  form  for 
permanency.  The  pupils  will  then  have  a  very 
much  deeper  appreciation  of  the  work  and  will 
exert  themselves  much  more  in  preparing  it.  The 
Sunday  school  should  have  strong  pasteboard 
boxes  in  which  the  handwork  could  be  brought  to 
the  class  at  the  beginning  of  the  session  and  in 
which  it  could  be  carefully  stored  at  the  end  of  the 
handwork  period.  When  the  child  is  allowed  to 
take  his  work  home  it  ought  to  be  in  a  form  to  be 
preserved.  The  children  will  be  much  interested 
in  preparing  envelopes  the  proper  size  for  the  work 
done,  or  a  portfoho  may  be  made  in  which  the 
work  is  placed.  If  mounted  upon  loose  leaves, 
either  single  or  double,  the  work  can  be  bound  into 
book  form.  For  construction  work,  coping  saw 
work,  whittling,  clay  or  plasticine  modeling,  or. 
pasteboard  construction,  work-boxes  of  the  right 
size  should  be  procured.  It  is  very  suitable  that 
a  display  case  should  be  placed  in  the  Sunday- 
school  room  in  which  shall  be  shown  from  time  to 
ii8 


Permanent  Form  for  the  Handwork    119 


I20    Handwork  in  Religious  Education 

time  the  best  work  executed  by  pupils  in  each  de- 
partment or  class.  If  the  expense  of  pasteboard 
boxes  is  too  great,  the  children  may  be  in- 
structed to  make  their  own.  Get  a  pasteboard 
box  the  size  desired,  take  it  to  pieces,  and  use 
it  as  a  pattern.  Secure  pasteboard  that  will  bend 
easily  without  breaking,  cut  according  to  pattern 
and  bend  it  at  the  hnes  desired  by  placing  a 
ruler  along  the  line  and  geritly  pressing  the  paste- 
board into  shape.  If  the  pasteboard  is  not 
artistic  in  color,  cover  the  box  with  wall  paper  or, 
better,  with  regular  thin  cover-paper  that  can  be 
purchased  at  some  bindery  or  paper  store.  Use 
for  this  purpose  paste  made  of  flour  and  water 
with  perhaps  a  teaspoonful  of  dissolved  alum  in  it. 
For  envelopes  in  which  to  put  the  written  work 
or  the  mounted  pictures  procure  the  right-sized 
envelope,  take  it  to  pieces,  cut  a  pattern,  and  then 
with  stout  cover-paper  make  the  envelope  as 
desired.  Figure  40  will  show  some  excellent  forms 
for  envelope-making.  Let  none  of  the  pupils' 
work  be  spoiled  from  lack  of  suitable  protection. 
A  portfoHo  may  easily  be  made.  A  folded  piece  of 
strong  cover-paper,  which  may  be  decorated  with 
some  other  color  or  some  other  shade  of  the  same 
color,  is  shown  in  Fig.  41,  Nos.  i,  2,  and  6.  From 
this  very  simple  construction  the  pupil  may  be  led 
on  to  more  advanced  work,  as  shown  in  Fig.  42, 
P  and  L.E. 


Permanent  Form  for  the  Handwork     121 


^-J\ 


~^ 


.a-^ 


*^ 


7"^=^ 


Fig.  39. — Pen-and-ink  borders  for  book  decorations 


122     Handwork  in  Religious  Education 

A  portfolio  may  be  made  like  book  covers  and 
tied  at  the  front  (note  Fig.  41,  Nos.  4,  5,  9).  Take 
two  pieces  of  pasteboard  (see  Fig.  42,  No.  i)  of 
the  sizes  desired,  making  sure  that  the  pasteboard 
is  strong  enough  not  to  warp.  (Strawboard  or 
clothboard  is  most  desirable.)  Place  these  the 
distance  apart  desired  for  the  width  of  the  port- 
foHo.  Cut  a  strip  of  binder's  cloth  an  inch  wider 
than  the  distance  between  the  two  cardboards 
and  about  two  inches  longer.  Glue  this  strip 
along  the  edges  opposite  each  other  on  the  two 
pieces  of  pasteboard,  having  it  lap  over  each 
about  half  an  inch  (see  Fig.  42).  Cut  a  piece  of 
stout  wrapping-paper  and  glue  within  to  strengthen 
the  binder's  cloth  down  the  back.  Turn  and  fold 
over  the  inch  left  on  either  end  of  the  strip  of 
binder's  cloth  back  upon  the  inside  of  the  port- 
folio (see  Fig.  42,  No.  2).  Cut  pieces  of  thin 
cover-paper  or  marble  paper  the  size  of  the  card- 
boards, with  at  least  half  an  inch  for  the  folding 
over  the  edges  (see  Fig.  42,  No.  3).  If  paper  is 
used  for  the  covering  of  the  pasteboard,  use  paste; 
if  binder's  cloth  is  used  instead  of  paper,  put  it  on 
with  glue,  spreading  the  glue  over  the  entire  sur- 
face of  the  binder's  cloth.  Quickly  place  this 
covering  so  as  to  cover  well  the  edges  of  the  back 
strip.  Turn  the  edges  over  the  pasteboard  and 
fold  down  carefully  (see  Fig.  42,  IV),  giving  special 
attention  to  the  comers.     It  is  well  to  have  cut 


Permanent  Form  for  the  Handwork     123 


\ 

/ 

y  ' 

/^ 

^     ^     k5 

vy 


Fig.  40, — Envelopes  and  boxes.     (To  be  folded  on  dotted  lines.) 


124     Handwork  in  Religious  Education 

off  a  little  triangular  piece  at  each  corner  so  as  to 
remove  some  of  the  material  that  'will  interfere 
with  making  the  comers  neat  (see  Fig.  42,  the 
simple  one-piece  cover).  Cut  a  piece  of  light- 
weight cover-paper  about  a  half  an  inch  smaller 
each  way  than  the  measurement  of  the  entire  port- 
folio. Paste  this  over  the  inside  of  the  portfolio, 
leaving  about  a  quarter  of  an  inch  margin  on  each 
side  and  end.  This  can  be  in  one  piece,  as  the 
inside  view  in  the  more  elaborate  cover  Fig.  42, 
or  in  two  pieces,  as  No.  5  in  Fig.  41.  If  one  desires 
strings  with  which  to  tie  the  portfolio  together  at 
the  front  edge,  one  may  cut  a  sHt  a  quarter  of  an 
inch  from  the  two  front  edges,  midway  down  the 
portfoho,  making  the  incision  the  length  of  the 
width  of  the  ribbon  or  tape  to  be  inserted  (see 
Fig.  41,  Nos.  5  and  9).  Insert  the  tape  from  the 
outside;  glue  it  securely  before  the  inside  paper  is 
pasted  on.  Instead  of  a  strip  down  the  back,  join- 
ing the  two  pasteboard  covers,  one  entire  piece  of 
binder's  cloth  may  be  glued,  leaving  the  width 
desired  between  the  two  pasteboards  (as  in  the 
simple  one-piece  cover.  Fig.  42).  Imitation  of 
leather  may  be  used,  but  is  somewhat  more  ex- 
pensive, the  binder's  cloth  coming  at  about  20  cents 
a  yard  and  being  39  inches  wide.  A  finer  portfolio 
may  be  made  by  putting  on  comers  such  as  are 
to  be  noted  on  more  expensive  books  (for  process 
note  Fig.  42,  II-IV).     These  comers  may  be  of 


Permanent  Form  for  the  Handwork     125 

the  binder's  cloth,  if  the  whole  is  covered  with 
cover  or  marble  paper,  or  may  be  of  imitation  or 
real  leather,  if  the  main  part  is  covered  with 
binder's  cloth.     When  one  has   made  portfolios 


.iiul. '. SRHhHhhBHh  ^^^^^^^^■^" 


■■■[I 


Fig.  41. — Book  bindings  (numbered  in  description  from  left 
to  right,  beginning  at  top  row). 

such  as  indicated  above,  one  has  already  the 
main  items  in  the  binding  of  books,  except  the 
sewing  of  the  leaves. 

§  2.   BOOKBINDINGS 

Make  the  covers  exactly  as  you  would  make 
a  portfolio,  omitting  merely   the  tape   for  tying 


126    Handwork  in  Religious  Education 

together  and  the  inside  lining.  Let  the  distance 
between  the  two  pieces  of  cardboard  in  the  back 
be  the  measure  of  the  thickness  of  the  book  to  be 
bound  for  double-leaf  binding,  and  for  loose  or 
single-leaf  binding  add  sufficient  width  to  cover 
the  sewing,  as  directed  in  the  following  paragraph. 
For  the  binding  of  loose  or  single  leaves  (see  Fig. 
43)  proceed  as  follows:  Take  four  sheets  of  what 
is  known  in  the  bindery  as  ''waste  paper"  the  size 
of  the  leaves  to  be  bound.  On  the  face  side  of  two 
of  these  glue  a  strip  of  binder's  cloth  an  inch  and  a 
half  wide,  extending  the  full  length  along  the  side. 
Put  together  two  of  these  waste  papers  face  to  face, 
letting  the  sheet  upon  which  the  strip  of  binder's 
cloth  has  been  glued  be  on  the  top.  Place  these 
two  sheets  on  top  of  the  leaves  to  be  sewed  together 
and  the  other  two  on  the  back  of  the  leaves,  the 
one  with  the  strip  being  always  on  the  outside, 
but  facing  inward  and  along  the  back  edge  of  the 
book.  For  sewing  mark  with  a  pencil  dots  for  the 
needle  holes  an  inch  or  an  inch  and  a  half  apart, 
about  three-eighths  of  an  inch  from  the  edge  down 
the  back.  With  an  awl  make  holes  at  the  marked 
points.  Use  binder's  thread  for  sewing.  Use 
the  very  strong  thread  or  double  it  if  the  book  is 
a  heavy  one.  Sew  it  with  the  binder's  stitch. 
Insert  needle  down  through  hole  2,  up  through  3, 
down  through  4,  up  through  5,  down  through  4, 
up  through  3,  down  through  2,  up  through  i,  tie 


Permanent  Form  for  the  Handwork     127 


in  knot  over  hole  2,  and  press  the  knot  into  the 
hole.     Insert  the  book  in  the  cover  prepared,  which 


r^\ 


/    °    \ 

\ 

\ 

1 
\    =    / 

\    »    / 
(( 

/ 

===^ 

m 

Fig.  42. — Book  covers,  double-leaf  sewing,  portfolios 

must  have  allowed  for  an  extension  of  the  cover 
beyond  the  leaves  of  about  a  quarter  of  an  inch  on 


128    Handwork  in  Religious  Education 

each  side  and  sufficient  room  at  the  back  for  not 
only  the  thickness  of  the  book,  but  also  slightly 
more  than  double  the  three-eighths  of  an  inch  to 
cover  the  sewing  of  the  book.  Glue  the  blank 
face  of  the  waste  paper  on  either  side  of  the  sewed 
book  back  upon  the  cover.  Quickly  press  back 
this  leaf  with  the  strip  of  binder's  cloth  on  it  on 
to  the  cover,  which  should  leave  a  margin  of  about 
a  quarter  of  an  inch  around  the  edge  (see  the  inside 
front  of  book  thus  completed  in  Fig.  41,  No.  14). 
Do  the  same  with  both  covers  of  the  book.  Insert 
newspaper  inside  the  covers  thus  glued  to  absorb 
the  dampness,  and  place  the  whole  under  pres- 
sure. 

For  double-leaf  book  proceed  as  follows:  Fold 
the  leaves  about  three  or  four  together  and  arrange 
these  groups  or  sections  of  leaves  in  the  order  of  the 
book,  placing  them  one  on  top  of  another  (see 
Fig.  42,  E).  Up  and  down  the  back  of  these  place 
markings  in  groups  of  two's,  letting  the  two's  be 
a  half  an  inch  to  an  inch  and  a  half  apart,  accord- 
ing to  the  size  of  the  book.  With  the  awl  make 
holes  through  the  leaves  at  these  markings.  In 
sewing  take  the  sections  one  by  one,  insert  the 
needle  at  the  first  hole  through  the  group  of  leaves 
and  out  through  the  second  hole.  Put  on  the  next 
section  of  leaves,  insert  the  needle  immediately 
above  where  the  thread  is  and  out  again  above 
where  the  first  stitch  was  taken.     Tie  the  thread 


Permanent  Form  for  the  Handwork     129 

here  to  the  end.     Add  the  next  section  of  leaves, 
inserting  the  needle  at  the  first  hole,  out  again  at 


/ea/      hi-ri  d  I  T  Q- 


Verfroni    of  ^<^^  ^-  ^or  hack    of  hoc  k. 


7.  ) 

Zea/    to    he    ^1  u  e.cl    onio    cc  v  e  -r 


"/7 


ay. 


.n         / 


Se^'^n^     of     (cose    Uaf     Loo^t. 


Fig.  43. — Loose-leaf  sewing  and  binding 

the   second,   and   looping  it  around   the   thread 
between  the  first  two  sections  of  leaves  below. 


130    Handwork  in  Religious  Education 

Add  the  next  section  of  leaves  and  continue  until 
the  whole  book  is  sewed.  Fasten  the  end  securely 
before  cutting  it  off.  Proceed  in  exactly  the  same 
manner  with  each  of  the  sections  of  markings  up 
the  back  of  the  book.  Glue  the  book  up  the  back. 
It  is  well  to  glue  over  the  back  thus  sewed  a  piece 


Fig.  44. — Illustrated  hymn  bound  in  leather 


of  super,  which  can  be  bought  at  the  bindery,  or 
sometimes  in  dry-goods  stores  (see  Fig.  42,  F). 
If  the  super  is  not  available,  use  some  strong  piece 
of  white  cotton  or  Hnen  cloth,  not  too  thick. 
Make  the  strip  wide  enough  to  extend  over  the 
back  of  the  book  when  the  book  is  sewed  about  an 


Permanent  Form  for  the  Handwork     131 

inch.  Glue  the  book  into  portfolio  covers  pre- 
pared as  for  loose  leaves,  except  that  the  distance 
between  the  cardboards  in  the  back  needs  to  be 
simply  the  measure  of  the  thickness  of  the  back  of 
the  book.  It  is  supposed  that  in  making  up  the 
book  you  have  allowed  for  a  leaf  to  be  pasted  back 


^-^^,.  ^,  ~    ..;  - -=^---^  \        .W^^  -.-^^^^^^^^    ,  -:^.-J^' 


PP^-^  :  V 


\  ■        r 


^.^^._.4^ 


v- 


i^ 


Fig.  45.— Illustrated  Life  of  Mary,  with  pen  work  borders, 
bound  in  leather. 

upon  the  cover  to  help  hold  the  book  in  the  covers. 
If  this  is  not  true,  before  gluing  on  the  super  fold 
a  piece  of  ''waste  paper"  or  some  other  fancy  paper 
to  make  double  leaves  the  size  of  the  book.  Glue 
these  on  along  the  back  edge  upon  the  book  you 
have  sewed.  Now  add  the  super,  which  will 
strengthen  the  whole  when  glued  into  the  covers. 


132    Handwork  in  Religious  Education 

The  best  binding  will  be  done  with  tape  or  cord. 
This  is  more  complex  binding,  and  for  this  work 
one  should  take  to  pieces  a  book  thus  bound  and 
investigate  the  method  or,  better  still,  go  to  some 
bindery  and  watch  the  process.  Publications  on 
bookbinding  will  describe  various  stitches.  Fold 
three  or  four  sheets  of  paper  together  to  form 
one  section.  According  to  the  size  of  the  book 
prepare  six  to  eight  sections.  Cut  three  pieces  of 
tape  about  three  inches  long.  Place  one  across  the 
back  of  the  sections  in  the  middle,  the  other  two  at 
equal  distance  from  the  left  and  right,  as  indi- 
cated in  Fig.  42.  On  either  side  of  each  of  the 
three  pieces  of  tape,  and  close  to  them,  draw  hnes 
across  the  sections,  and  add  a  line  on  the  left  and 
right  about  twice  the  width  of  the  tape  from  the 
ends.  Make  holes  in  the  places  indicated  by  the 
lines  (eight  in  each  section). 

Sew  with  binder's  thread,  as  indicated  in  draw- 
ings referred  to  above,  beginning  with  the  first 
section,  at  either  end,  entering  the  needle  at  first 
hole,  across  the  inside  and  out  through  second, 
across  the  tape  and  in  through  third,  out  through 
fourth,  across  the  tape  and  in  through  fifth,  out 
through  sixth,  in  through  seventh,  and  out  through 
eighth;  place  the  second  section  on  top  and  enter 
the  needle  at  eighth  of  the  second  section,  out 
through  seventh,  and  continue  as  illustrated,  tying 
at  the  first  hole  to  the  starting  thread  with  a  knot, 


Permanent  Form  for  the  Handwork    133 


.a 
8 

I 


134    Handwork  in  Religious  Education 

and  fastening  well  each  time  a  new  section  is  added, 
pulling  the  thread  tight  all  the  way.  When  two 
or  three  sections  have  been  added,  one  may  loop 
stitches  together  as  the  tapes  are  crossed  as  in 
Fig.  42,  C.  When  all  the  sections  are  added,  pull 
the  tape  tight.  Place  in  a  press  and  glue  across 
the  back  of  the  sections,  being  careful  not  to  drop 
glue  between  sections. 

When  they  are  dry  place  the  sections  into  the 
cover.  Glue  the  ends  of  the  tape  to  the  cover 
exactly  in  the  correct  places.  Put  glue  or  paste 
on  the  outside  leaves  and  paste  in  place  over  the 
strawboard  of  the  inside  of  the  cover.  Insert  a 
piece  of  newspaper  just  inside  the  covers  at  both 
front  and  back  of  book,  close  the  book,  and  put 
under  pressure  until  dry. 

The  cover  for  books  may  be  made  of  hnen  (see 
Fig.  41,  No.  12)  instead  of  binder's  cloth,  or  of 
leather.  For  these  materials  use  paste  instead  of 
glue.  For  soft  leather  covers  sew  the  book  accord- 
ing to  directions  given  above,  either  loose-leaf  or 
double-leaf.  Cut  the  leather  larger  than  the  book 
so  as  to  extend  on  all  sides  about  half  an  inch. 
Insert  the  book  into  the  leather,  and  paste  the 
leaves  back  upon  the  leather  on  either  side. 
Always  insert  paper  between  the  cover  and  the 
book  itself  to  absorb  the  moisture.  In  all  book- 
binding one  will  learn  most  by  taking  to  pieces 
a  book  and  studying  the  method  of  binding. 


Permanent  Form  for  the  Handwork     135 

A  very  simple  way  of  holding  leaves  together  is 
that  of  wire  staples,  such  as  magazines  use.  These 
may  be  taken  out  of  old  magazines.  Over  these 
wire  staples  down  the  back  may  be  pasted  a  strip 
of  binder's  cloth  to  cover  them  (see  Fig.  41,  No.  7). 
Many  fancy  stitches  may  be  used  in  sewing  where 
the  ribbon  or  silk  string  used  will  show.  Note  for 
these  the  samples  in  picture  Fig.  41,  books  3,  8, 
10,  II. 

Bristol  board  makes  good  covers  for  children's 
productions  where  only  a  few  leaves  are  to  be 
bound.  It  needs  no  covering.  Draw  a  hne  for 
folding  at  the  back,  score,  or  cut  slightly  with  a  pen- 
knife the  tough  outer  cover  of  the  bristol  board, 
and  bend  carefully  over  the  edge  of  a  ruler.  Sew 
leaves  in  this  cover,  passing  the  needle  through  the 
bristol  board  at  the  back,  and  using  the  binder's 
stitch.  Or  use  the  wire  staples  in  place  of  sewing. 
Cover  sewing  or  staples  with  a  piece  of  binder's 
cloth  down  the  back  of  the  book,  as  in  Fig.  41, 
No.  16. 

In  preparing  a  book  for  mounting  of  paper- 
cuttings  or  -foldings,  use  gray  cover-paper  for 
leaves;  let  every  second  leaf  extend  only  an  inch 
beyond  the  sewing,  or  insert  strips  about  two 
inches  wide  between  the  leaves,  sewing  them  in  as 
though  they  were  full  leaves  (see  Fig.  41,  No.  15). 


BOOKS  FOR  REFERENCE 

I.      BOOKS   ASSIGNED   IN   THE   MANUAL   FOR   ADDITIONAL 
READING 

Brown,  G.  Baldwin.     The  Fine  Arts.     Scribner.     $i.oo. 
Coe,  George  A.     Education  in  Religion  and  Morals.     Revell. 

$1.35. 

Dopp,  Katharine  Elizabeth.  Place  of  Industries  in  Ele- 
mentary Education.  The  University  of  Chicago  Press. 
$1 .  00. 

Eddy,  Arthur  Jerome.  Delight  the  Soul  of  Art.  Lippin- 
cott  Co.     $1 .  50. 

Froebel,  Frederick.    Education  of  Man.    Appleton.     $1.50. 

Haddon,  A.  C.     Evolution  of  Art.    Scribner.    $1.50. 

Henderson,  C.  H.  Education  and  Its  Larger  Life.  Hough- 
ton Mifflin  Co.     $1.30. 

James,  William.  Talks  to  Teachers  on  Psychology;  and  to 
Students  on  Some  of  Life's  Ideals.    Holt.     $1 .  50. 

King,  Irving.  The  Psychology  of  Child  Development.  The 
University  of  Chicago  Press.     $1 .  00. 

Kirkpatrick,  Edwin.  Fundamentals  of  Child  Study.  Mac- 
millan.     $1.25. 

Littlefield,  Milton  S.  Handwork  in  the  Sunday  School. 
New  York  Sunday  School  Commission.    $1.00. 

Puffer,  Ethel  D.  The  Psychology  of  Beauty.  Houghton 
Mifflin  Co.     $1.25. 

Ross, Edward  Alsworth.   Social  Control.   Macmillan.  $1.25. 

Sargent,  Walter.  Fine  and  Industrial  Arts  in  Elementary 
Schools.     Ginn&Co.     $0.75. 

n.      A    SPECIAL   LIST    OF   TECHNICAL   BOOKS    ON   HANDWORK 

Barr,  Ethel.    Scissor  Pictures,   Book  I.    Rand  McNally 

&  Co.    $0.25. 

136 


Books  for  Reference  137 

Boyd,  Ida  E.  When  Mother  Lets  Us  Cut  Out  Pictures. 
Moffatt,  Yard  &  Co.     $0.75. 

Cockerell,  Douglas.  Bookbinding  and  the  Care  of  Books. 
Appleton.     $1.25. 

Hammel,  William  C.  A.  "Educational  Manual  Training " : 
Paper-Folding;  Cardboard  Construction;  Elementary 
Knife  Work;  Advanced  Knife  Work.  B.  F.  Johnson. 
4  books.     $0.20  each. 

Johnson,  Ben  W.  Coping  Saw  Work.  IVIanual  Arts  Press. 
$0 .  20. 

Knapp,  Elizabeth  Sanborn.  Raphia  and  Reed  Weaving 
(including  also  cardboard  and  paper  construction). 
Milton  Bradley  Co.     $0.  50. 

Lester,  Katherine  Morris.  Clay  Work.  Manual  Arts 
Press.    $1 .  00. 

Rich,  G.  E.  When  Mother  Lets  Us  Make  Paper-Box  Furni- 
ture; When  Mother  Lets  Us  Make  Toys;  When  Mother 
Lets  Us  Make  Gifts.  Moffatt,  Yard  &  Co.  3  books. 
$0.75  each. 

Sage  and  Cooley.  Occupations  for  Little  Fingers.  Scribner. 
$1.00. 

Trybom,  J.  H.,  and  Heller,  R.  R.  Correlated  Handwork; 
a  Handbook  for  Teachers.  Speaker  Printing  Co., 
Detroit.     $1.25. 

Whitney,  Frederick.  Blackboard  Sketching.  Milton  Brad- 
ley Co.     $0.60. 

Zaner,  C.  P.  The  New  Zanerian  Alphabets.  Zaner  & 
Bloser  Co.,  Columbus,  Ohio.     $1.50. 

III.      A    MORE    EXTENDED     LIST    OF    TECHNICAL    BOOKS 

Books  on  Educational  Crafts 

Beckwith,    :M.    Helen.     Story    Telling   with    the    Scissors. 

■    Milton  Bradley  Co.     $0.  50. 
Buxton,  G.  F.,  and  Curran,  F.  L.     Paper  and  Cardboard 
Construction.     Manual  Arts  Press.     $1.50. 


138    Handwork  in  Religious  Education 

Chamberlain,  Arthur  H.  Educative  Handwork  Manuals, 
Part  II,  "Paper  and  Cardboard  Construction." 
Whitaker  &  Ray  Co.,  San  Francisco.     $0. 60. 

Henderson,  Anna,  and  Palen,  H.  O.  What  and  How.  Mil- 
ton Bradley  Co.     $2.00. 

Hildreth,  Ellen  S.  Clay  Modeling.  Milton  Bradley  Co. 
$0.25. 

Hoxie,  Jane.  Handwork  for  Kindergartens  and  Primary 
Schools.    Milton  Bradley  Co.     $0.50. 

.     Suggestions  for  Handwork  in  School  and  Home. 

Milton  Bradley  Co.     $0.75. 

Ledyard,  Mary,  and  Breckenfeld,  Bertha.  Primary  Manual 
Work.    Milton  Bradley  Co.     $1 .  20. 

Newell,  Edward  C.  Construction  Work.  Milton  Bradley 
Co.     $1.20. 

Sanford,  Frank  G.  The  Art  Crafts  for  Beginners.  Cen- 
tury.    $1 .  20. 

Seegmiller,  W.  Primary  Handwork.  M.  &  G.  Atkinson. 
$1 .00. 

Summers,  Maud.  First  Lesson  in  Handcraft.  W.  M. 
Welch  Co.    $0.50. 

Trybom,  J.  H.  Cardboard  Construction.  Milton  Bradley 
Co.     $1 .  00. 

Weaver,  Emily  A.  Paper  and  Scissors  in  the  School  Room. 
Milton  Bradley  Co.     $0.25. 

White,  Mary.     How  to  Make  Baskets.     Doubleday.     $1.00. 

.  More  Baskets  and  How  to  Make  Them.  Double- 
day.    $1 .  00. 

Worst,  Edward  F.  Construction  Work.  A.  W.  Muniford. 
Chicago.     $0.75. 

Books  on  Art  Work 

Bradley,  M.    A  Color  Primer.    Milton  Bradley  Co.    $0. 10. 

.    Elementary  Color.     Milton  Bradley  Co.     $0.75. 

.     Water  Colors  in  the  School  Room.    Milton  Bradley 

Co.     $0.25. 


Books  for  Reference  139 

Church,  A.  H.     Color.     Cassell  &  Co.,  London.     $1.25. 
Frederick,  Frank  Forrest.     The  Wash  Method  in  Handling 

Water  Colour.    Manual  Arts  Press.    $0 .  50. 
Haney,    James    Parton.     Classroom    Practice    in    Design. 

Manual  Arts  Press.     $0 .  50. 
Johnston,  Edward.     Lettering  and  Illuminating  and  Writing. 

Macmillan.      $2 .  00. 
Mackenzie,  Marion.     The  Little  Artist.     Milton  Bradley 

Co.     $0.75. 
Maycock,    Mark    ;M.     A    Class   Book    of  Color.     Milton 

Bradley  Co.     $1 .  00. 
Munsell,  Albert  E.     A  Color  Notation.    Ellis.     $1.25. 
Prang.     Text  Books  of  Art  Education  (Grades  I-VII). 
Seegmiller,  W.     Applied  Arts  Drawing  Books.    Atkinson. 

$1.60. 
Tadd,   J.    Liberty.     New   Methods   in   Education.    Judd. 

$2.00. 
Van  Helden,  Caroline  West.     A  Note  on  Color.     Milton 

Bradley  Co.    $0.50. 

IV.      MAPS 

Blakeslee.     Outline  Maps.     Scribner. 

Burton.     Relief  Map  of  Palestine  (papier  mache).     $12 .  00. 

Kent  and  Madsen  Maps.     Historical  Series.     $2.00  each. 

Kent  and  Madsen  Maps.  Topographical  Map  of  Pales- 
tine.    $2 .  50. 

Kent  and  Madsen  Maps.     The  Set  of  Twelve.     $15.00. 

Littlefield.  Old  Testament  Outline  Political  Map.  15  in 
set,  2  cents  each.  65  cents  per  hundred.  New  York 
Sunday  School  Commission,  416  Lafayette  St.,  New 
York  City. 

Littlefield.     New  Testament  Map.     2  cents  each. 

Littlefield.  Relief  Map  of  the  Old  Testament  World. 
$2.50. 


I40    Handwork  in  Religious  Education 

SUPPLY   HOUSES   OF   APPLIANCES   AND    MATE- 
RIALS FOR  THE  RELIGIOUS  EDUCATOR 

David  C.  Cook  Publishing  Co.,  Elgin,  111. 

William  H.  Dietz,  105  North  Dearborn  St.,  Chicago,  111. 

New  York  Sunday  School  Commission,    73   Fifth  Ave., 

New  York  City. 
The  United  Brethren  Publishing  House,  Dayton,  Ohio. 

PICTURE  COMPANIES 

G.  P.  Brown  &  Co.,  Beverly,  Mass. 

The  Perry  Pictures  Co.,  Boston  and  Maiden,  Mass. 

Tissot  Picture  Society,  37  Montgomery  St.,  Jersey  City, 

N.J. 
United  Educational  Company,  61  East  Ninth  St.,  New  York 

City. 
W.  A.  Wilde  Co.,  120  Boylston  St.,  Boston,  Mass.;    538 

S.  Clark  St.,  Chicago,  111. 
The  Manual  Arts  Press,  Peoria,  111.,  offers  to  procure 
any  book  on  manual  arts  that  is  in  print,  and  the  New 
York  Sunday  School  Commission,  73  Fifth  Ave.,  New  York, 
advertises  that  it  will  procure  any  book  for  Sunday-school 
work  that  is  in  print.  The  denominational  publishing 
houses  will  usually  do  this  also. 


INDEX 


American  Crayon  Co.,  68. 
Art  Work,  104  ff. 
Assignments      of      expression 
work,  to  teachers  6  ff.,  t6  ff., 

23, 28  f.,  35  f.,  45, 49  f-;  to 

pupils,  40  ff.,  46  ff.,  51  ff. 

Basketry,  78  ff.,  83. 

Bible  Publishing  Co.,  99, 

Binney  &  Smith,  68. 

Blackboard  work,  33,  105  ff.; 
stenciling,  56  f.,  108  f.; 
sketching,  105  f.;  picture 
reproduction,  106  ff.,  iiof.; 
fancy  initial  work,  108  f.; 
mottoes,  108  ff. 

Bookbinding,  16  ff.,  125  ff. 

Boxes,  81  ff.,  118,  123.  See 
Basketry. 

Bradley's  Straight  Line  Pic- 
ture Cut-Outs,  75. 

Brown,  G.  Baldwin,  The  Fine 
Arts,  28,  35. 

Brown  pictures,  67,  116. 

Burton's  Map  of  New  Testa- 
ment Palestine,  100. 

Card-sewing,  5 1  ff . 

Child,  The,  reactions,  20; 
relation  to  heritage  and 
environment,  21  f.;  social 
consciousness,  22;  motor- 
minded  vs.  sensory-minded, 
39;  interests  according  to 
periods  of  development, 
40  ff.;  ability  to  be  culti- 
vated, 40  ff. 

Clay-modeling,  84  ff.;  maps, 
loi  f.,  118. 

Coe,  George  A,,  Education  in 
Religion  and  Morals,  44. 


Construction  Work,  34  ff.,  50, 

75,  86  ff.,  118. 
Coping  saw  work,    72  ff.,    92, 

118. 
Crayola  work,  23,  55  f.,  60  f., 

66  ff.,  104. 
Crayon    work,    57,    68,     103, 

iiiff. 
Creativeness,  an  instinct,  5  f.; 

a  method  of  training,  21;   a 

challenge  of  materials,  26. 

Designing,  34,  121. 

De  Voe  colors,  68. 

Dopp,  Katharine  Elizabeth, 
Place  of  Industries  in  Ele- 
mentary Education,  44. 

Eddy,  A.  J.,  Delight  the  Soul 

of  Art,  16. 
Envelopes,  their  making,  6  f., 

118  ff.,  123. 

Fine  Arts,  relation  to  religion 
historically,  10;  emotionally, 
11;  ideally,  12;  architec- 
turally, 12;  place  in  prepara- 
tion of  teachers,  30  ff.; 
adaptation  to  Sunday- 
school  work,  32  ff.,  104  ff. 

Flemish  Art  Co.,  75. 

Froebel,  Frederick,  Education 
of  Man,  28. 

Haddon,  A.   C,  Evolution  in 

Art,  6. 
Handwork    exhibition,    118  f., 

133- 
Harmonies,  116. 
Henderson,   C.  H.,  Education 

and  Its  Larger  Life,  28. 
Hymn  illustration,  116  f. 


141 


142     Handwork  in  Religious  Education 


Industrial  arts,  relation  of,  to 
religion :  in  mastery  of  mate- 
rials, 13;  in  jubilant  inter- 
pretation of  life,  13;  in 
emphasizing  a  life  task,  14; 
in  consciousness  of  creator- 
ship,  14;  in  tangible  re- 
minder of  a  truth,  15; 
relation  of,  to  human  broth- 
erhood, 15  f.,  22. 

James,  William,  Talks  to 
Teachers  on  Psychology,   23. 

Johnson,  Ben  W.,  Coping  Saw 
Work,  75. 

King,  Henry  Churchill,  Ra- 
tional Living,  23. 

King,  Irving,  The  Psychology 
of  Child  Development,  22,  45. 

Kirkpatrick,  E.  A.,  Funda- 
mentals of  Child  Study,  6. 

Laws  applicable  to  religious 
expression  work:  theory  and 
practice,  24  f.;  sensational 
vs.  creative  activity,  25  f.; 
analysis  vs.  synthesis,  26  f.; 
objectifying  of  thought,  27; 
recall,  27  f. 

Lester,  Katherine  M.,  Clay 
Work,  86. 

Littlefield,  Milton  S.,  Hand- 
work in  the  Sunday  School,  49. 

MacCoun,  The  Holy  Land  in 
Geography,  100. 

Manual  Arts  Press,  75,  86. 

Map-drawing,  104,  116  f. 

Map-modeling,  99  ff.;  papier 
mache,  45,  102  £f.;  sand, 
49  f.,  92  ff.,  99  ff.;  clay  and 
plasticine,  loi  f.;  wood- 
pulp,  104. 

Milton  Bradley  Co.,  51,  64,  69. 

New  York  Sunday  School 
Commission,  114. 


Paper-cutting,  23,  53  ff.,  135. 

Paper-folding,  69  ff.,  135. 

Paper-tearing,  28  f.,  64  ff.,  68, 
70. 

Parquetry  work,  60,  67. 

Pen-and-ink  work,  107,  115, 
121. 

Perry  Pictures,  The,  67,  116. 

Physical  expression,  its  prob- 
lem, 3  f . ;  relation  to  thought, 
27;  application  to  develop- 
ment of  the  child,  39  ff. 

Picture-coloring,  56,  60  f .,  66  ff. 

Plasticine,  86,  98,  loi  f.,  118. 

Portfolios,  theii  making,  7  ff., 
ii8ff. 

Posters,  Z2,,  55  ff- 

Prang  colors,  68. 

Preparation  of  teachers,  train- 
ing classes  in  handwork, 
xiff.;  vision,  19  ff.;  expres- 
sion work,  30  ff. 

Program  of  Sunday-school 
handwork,  time  allotted,  xiii; 
expense,  xiv;  competent 
teachers,  xivf.;  classifica- 
tion, 40  ff.,  46  ff. 

Puffer,  Ethel  D.,  The  Psy- 
chology of  Beauty,  35. 

Religious  educator:  relation 
of,  to  changed  conditions, 
19;  attitude  toward  the 
child,  20  f.;  method  of  child- 
training,  21  f.;  vision,  19  ff.; 
preparation,  30  ff. 

Revell  Co.,  100. 

Ross,  E.  A.,  Social  Control,  16. 

Sage  and  Cooley,  Occupations 
for  Little  Fingers,  80. 

Sargent,  Walter,  Fine  and 
Industrial  Arts,  44. 

Self-Expression:  necessity  for 
development,  4;  history  in 
the  race,  4f.;  relation  to 
outer  conduct,  10,  to  creative 
opportunity,  26. 


Index 


143 


Stenciling,  63  f.,  72,  108  f. 

Stick-printing  and  block-sten- 
ciling, 72,  74. 

Symbols,  5  f.,  15. 

Systems  of  religious  education 
in  relation  to  handwork, 
30- 

Tissot  Picture  Society,  116. 
Trays  and  fancy  boxes,  81  ff. 

Use  of  the  Manual,  in  teacher- 
training,  xij6f.;  boys'  and 
girls'  clubs,  xv;  vacation 
schools,  XV. 


Vocational  interests,  relation 
to  religion,  15,  22. 

Waldcraft  Co.,  64,  72. 

Water  colors,  23,  68,  84,  103, 
104,  III,  115. 

Whitney,  Frederick,  Black- 
hoard  Sketching,  no. 

Whittling,  72  ff.,  118  f. 

Wilde  pictures,  116. 

Winsor  &  Newton  colors,  69. 

Written  work,  iiifif.,  116  f. 

Zaner,  C.  P.,  The  New  Zanerian 
Alphabets,  108. 


.    . 

Date  Due 

'^MJI^fP^^ 

199^ 

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